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College of Magic – Annual Report 2014
2014College ANNUAL of Magic REPORT 2014 College of Magic Annual Report 1 ANNUAL REPORT for the year ended 31 December 2014 Country of Incorporation South Africa Nature of Organisation The Association is a non-profit organisation incorporated in terms of the Non-profit Organisations Act 1977, on 9 December 1999, Registration Number 007-517 NPO, PBO Number: 930 019 992 Nature of Operations The aim of this organisation is to see lives and communities transformed through the provision of education and development programmes with a specific emphasis on educational enrichment and supplementary tuition targeting the full diversity of the South African Youth. The organisation achieves this objective through the medium of the performing arts, with an emphasis on magic and the allied arts. Street Address 215 Imam Haron Rd (formerly Lansdowne Rd) Claremont 7700 Cape Town South Africa Postal Address PO Box 2479 Clareinch 7740 Cape Town South Africa Telephone +27 21 683 5480 Fax +27 21 683 1970 Website www.collegeofmagic.com Auditors Horwath Zeller Karro Chartered Accountants (S.A.) Registered Accountants and Auditors product, their pricing, where best to perform and how • To enrich the educational experience through to promote it. Many of our graduates have become nurturing confident, balanced, disciplined, professional entertainers and we want ensure that a organised, creative individuals and leaders with core element in our curriculum is to equip our students hope for the future. to be job-makers and to have a positive, transforming • To provide supplementary tuition in order to socio-economic impact throughout their adult lives develop skills in performance, design, teamwork using the skills that they have developed whilst and theatrical & video arts and provide access studying at the College. -
Sex and Shock Jocks: an Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected]
Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 11-1-2007 Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected] Accepted version. Journal of Promotion Management, Vol. 13, No. 1/2 (November 2007): 73-91. DOI. © 2007 Taylor & Francis (Routledge). Used with permission. NOT THE PUBLISHED VERSION; this is the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation at the bottom of the page. Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Diederich College of Communication, Marquette University Milwaukee, WI Abstract: Studies of mass media show that sexual content has increased during the past three decades and is now commonplace. Research studies have examined the sexual content of many media, but not talk radio. A subcategory of talk radio, called “shock jock” radio, has been repeatedly accused of being indecent and sexually explicit. This study fills in this gap in the literature by presenting a short history and an exploratory content analysis of shock jock radio. The content analysis compares the sexual discussions of two radio talk shows: Infinity’s Howard Stern Show and Clear Channel’s Bob & Tom Show. Introduction The quantity and explicitness of sexual content in mass media has steadily increased during the past three decades. Greenberg and Busselle (1996) found that sexual activities depicted in soap operas increased between 1985 and 1994, rising from 3.67 actions per hour in 1985 to 6.64 per hour in 1994. -
Modernism and Magic
University of Huddersfield Repository Gledhill, Jennifer Modernism and Magic Original Citation Gledhill, Jennifer (2016) Modernism and Magic. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/29081/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Modernism and Magic Jennifer Gledhill A Thesis Submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by Research January 2016 2 Contents Introduction………………………………………………………………………………………3 Chapter One: Magicians and Spiritualism…………………………………………… 13 Chapter Two: Fasting and Spiritualism…………………………………………………. 36 Chapter Three: The Freak show and Spiritualism…………………………………. 54 Conclusion………………………………………………………………………………………….. 74 Bibliography………………………………………………………………………………………. 83 Word Count: 25316 3 Introduction This dissertation will look at how modernist writers incorporated the idea of fraud into their work through the use of popular culture spectacles. -
June 12-13, 2015 • at Auction Haversat & Ewing Galleries, LLC
June 12-13, 2015 • At Auction haversat & ewing galleries, LLC. Magicfrom the ED HILL COLLECTION Rare Books Houdini Ephemera haversat Photographs Apparatus • Postcards &Ewing Unique Correspondence haversat Galleries, LLC. &Ewing PO Box 1078 - Yardley, PA 19067-3434 Galleries, LLC. www.haversatewing.com Auction Catalog: www.haversatewing.com haversat Haversat & Ewing Galleries, LLC. &Ewing Galleries,Magic Collectibles Auction LLC. AUCTION Saturday, November 15, 2014 -11:00 AM AuctionSign-up to bid June at: www.haversatewing.com 12-13, 2015 Active bidding on all lots begin at 11:00 AM EST- Friday, June 12, 2015 First lot closes Saturday, June 13 at 3:00 PM EST. Sign-up to bid at: www.haversatewing.com HAVERSAT & EWING GALLERIES, LLC PO POBox BOX 1078 1078 - Yardley,- YARDLEY, PA PA 19067-3434 19067-3434 www.haversatewing.comWWW.HAVERSATEWING.COM A True Story: Back when Ed started collecting he befriended H. Adrian Smith, then current Dean of the Society of American Magicians. At the time, Harold as he was known to his friends, had the largest magic library in the world. Often Harold was a dinner guest at our house and as usual after our meal “the boys” would discuss magic and collecting. Harold’s plan for his books and ephemera was to donate it all to his alma mater, Brown University in Providence, Rhode Island. As we all know that’s what happened to his collection. Ed on the other hand disagreed with Harold’s plan and said that when the time came for him to dissolve his library he wanted everything to be sold; so that other collectors could enjoy what he had amassed. -
Dal Sanders President of the S.A.M
JULY 2013 DAL SANDERS PRESIDENT OF THE S.A.M. PAGE 36 MAGIC - UNITY - MIGHT Editor Michael Close Editor Emeritus David Goodsell Associate Editor W.S. Duncan Proofreader & Copy Editor Lindsay Smith Art Director Lisa Close Publisher Society of American Magicians, 6838 N. Alpine Dr. Parker, CO 80134 Copyright © 2012 Subscription is through membership in the Society and annual dues of $65, of which $40 is for 12 issues of M-U-M. All inquiries concerning membership, change of address, and missing or replacement issues should be addressed to: Manon Rodriguez, National Administrator P.O. Box 505, Parker, CO 80134 [email protected] Skype: manonadmin Phone: 303-362-0575 Fax: 303-362-0424 Send assembly reports to: [email protected] For advertising information, reservations, and placement contact: Lisa Close M-U-M Advertising Manager Email: [email protected] Telephone/fax: 317-456-7234 Editorial contributions and correspondence concerning all content and advertising should be addressed to the editor: Michael Close - Email: [email protected] Phone: 317-456-7234 Submissions for the magazine will only be accepted by email or fax. VISIT THE S.A.M. WEB SITE www.magicsam.com To access “Members Only” pages: Enter your Name and Membership number exactly as it appears on your membership card. 4 M-U-M Magazine - JULY 2013 M-U-M JULY 2013 MAGAZINE Volume 103 • Number 2 COVER STORY S.A.M. NEWS PAGE 36 68 6 From the Editor’s Desk 8 From the President’s Desk 10 Newsworthy 11 M-U-M Assembly News 27 Good Cheer List 26 Broken Wands 69 Photo Contest Winner -
The Magic Collection of David Baldwin
Public Auction #043 The Magic Collection of David Baldwin Including Apparatus, Books, Ephemera, Posters, Automatons and Mystery Clocks Auction Saturday, October 29, 2016 v 10:00 am Exhibition October 26-28 v 10:00 am - 5:00 pm Inquiries [email protected] Phone: 773-472-1442 Potter & Potter Auctions, Inc. 3759 N. Ravenswood Ave. -Suite 121- Chicago, IL 60613 The Magic Collection of David M. Baldwin An Introduction he magic collection of David M. Baldwin (1928 – 2014) Tis a significant one, reaching back to the glorified era of nineteenth century parlor and stage magic that sees its greatest physical achievements embodied in the instruments of mystery we offer here: clocks, automata, and fine conjuring apparatus. It crosses into that treasured phase of the twentieth century when the influence magic held over Western popular culture reached its zenith, and continues on to the present age, where modern practitioners and craftsmen commemorate and reinvigorate old A thoughtful and kind gentleman, he never spoke unkindly about ideas in new forms. anyone. He was modest, generous, and known by many for his philanthropy in supporting the visual and performing arts, medicine, The bedrock of the collection is composed of material the education, and, of course, magic. Among his contributions to other sources of provenance of which will be well known to any conjuring organizations, he was a major benefactor to The Magic Circle, collector or historian of the art: the show, personal artifacts and and was awarded an Honorary Life Member of the Inner Magic Circle. props gathered and used by Maurice F. Raymond (“The Great Raymond”); the library and collection of Walter B. -
William Zavis Papers Finding
The William Zavis Papers prepared by Lenge Hong and Kat Masback fpliia 1 w\ 1JTJWHW nPf "'"Jf'' 'fl Conjuring Arts Research Center New York City : 2007 William Zavis finding aid.doc -1 Title: William Zavis Papers Span Dates: 1970-1993 Bulk Dates: 1973-1979 Accession No.: 2000.18 Creator: Kalush, William Extent: 2 linear feet. Language: English Repository: Conjuring Arts Research Center Finding Aid Prepared By: Lenge Hong and Katrina Masback Finding Aid Prepared Date: 7/12/2007 Provenance / Processing History: Related Material: Ask Alexander Status: Collection is not available via Ask Alexander. Copyright Status / Restrictions on Use: Please consult the librarian for further details. Preferred Citation: Researchers wishing to cite this collection should include the following information: container number, William Zavis Papers, Conjuring Arts Research Center, New York City. Scope and Content: Collection consists mainly of Zavis' correspondence with other magicians, societies, and magic supply houses, many based in the United Kingdom and Europe. Collection also includes instruction sheets for effects designed by Zavis, and assorted memorabilia. Search Terms: Zavis, William. Magicians. United States. 20th century. Magic tricks. Series List / Series Descriptions: The collection contains only one series. William Zavis finding aid.doc - 2 Container List box series folder description 1 1 William Zavis correspondence 1 James Alfredson (2); Anthony (1); Jack Avis (5); Roy Baker (5); Donald Bevan (30); Joe Berg (1); J. Birnman (1); George Blake (4); Bill Boley (1); John Braun (5); Martin Breese (3); Ken Brooke (7); TimBryson(l); Terry/Norma Burgess (1); Jeff Busby (8) 2 William Zavis correspondence 2 Carboni/Carbonita (2); Al Cohen (5); Leslie Cole (5); Alan Cracknell (1); Father Cyprian (1); L. -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
The Old and the New Magic
E^2 CORNELL UNIVERSITY gilBRARY . GIFT OF THE AUTHOR Digitized by Microsoft® T^^irt m4:£±z^ mM^^ 315J2A. j^^/; ii'./jvf:( -UPHF ^§?i=£=^ PB1NTEDINU.S.A. Library Cornell University GV1547 .E92 Old and the new maj 743 3 1924 029 935 olin Digitized by Microsoft® This book was digitized by Microsoft Corporation in cooperation witli Cornell University Libraries, 2007. You may use and print this copy in limited quantity for your personal purposes, but may not distribute or provide access to it (or modified or partial versions of it) for revenue-generating or other commercial purposes. Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® ROBERT-KCUIUT Digitized by Microsoft® THE OLDUI^DIMEJ^ MAGIC BY HENRY RIDGELY EVANS INTRODUCTION E1^ k -io^s-ji, Copyright 1906 BY The Open Court Publishing Co. Chicago -J' Digitized by Microsoft® \\\ ' SKETCH OF HENRY RIDGELY EVAXS. "Elenry Ridgely Evans, journalist, author and librarian, was born in Baltimore, ^Md., Xovember 7, 1861. He is the son 01 Henry Cotheal and Alary (Garrettson) Evans. Through his mother he is descended from the old colonial families of Ridgely, Dorsey, AA'orthington and Greenberry, which played such a prominent part in the annals of early Maryland. \h. Evans was educated at the preparatory department of Georgetown ( D. C.) College and at Columbian College, Washington, D. C He studied law at the University of Maryland, and began its practice in Baltimore City ; but abandoned the legal profession for the more congenial a\'ocation <jf journalism. He served for a number of }ears as special reporter and dramatic critic on the 'Baltimore N'ews,' and subsequently became connected with the U. -
As We Kicked Off the New Millennium, Readers of This
s we kicked off the new Amillennium, readers of this magazine cast their ballots to elect the ten most influential magicians of the 20th century. Although there were some sur- prises, few could argue with the top two — Harry Houdini and Dai Vernon. While scores of books have been written about Houdini, David Ben has spent the past five years prepar- ing the first detailed biography of Dai Vernon. What follows is a thumbnail sketch of Vernon’s remarkable life, legacy, and con- tribution to the art of magic. BY DAVID BEN Scene: Ottawa admired performers such as T. Nelson to learn, however, that he might as well have Scene: Ballroom of the Great Year: 1899 Downs, Nate Leipzig, and J. Warren Keane been the teacher. Northern Hotel, Chicago David Frederick Wingfield Verner, born more. He marveled at their ability to enter- In 1915, New York could lay claim to Year: 1922 on June 11, 1894, was raised in the rough- tain audiences with simple props and virtu- several private magic emporiums, the places On February 6, 1922, Vernon and his and-tumble capital of a fledgling country, oso sleight of hand. Coins flitted and flick- where magic secrets were bought, built, and confidant, Sam Margules, attended a ban- Canada, during the adolescence of magic’s ered through Downs’ fingers, while Leipzig sold. Much to Vernon’s chagrin, the propri- quet in honor of Harry Houdini in the Golden Age. It was his father, James Verner, and Keane, ever the gentlemen, entertained etor and staff at Clyde Powers’ shop on Crystal Ballroom of the Great Northern who ignited his interest in secrets. -
LISA MENNA a Superstition by Chloe Olewitz PHOTO by JACQUE
LISA MENNA a Superstition By Chloe Olewitz PHOTO BY JACQUE MENNA Lisa, age 17, performing for Muhammad Ali at the 1982 Desert Magic Seminar Lisa Menna was one of the last to compete at the Las Vegas Desert Magic Seminar’s open close- up session in 1982, when she was 17 years old. It was a long day, and she remembers how the checked-out audience had perked up at the sight of a young woman in a white, form-fitting, knit dress. Waiting in the wings before her set, Menna noticed a celebrity sitting in the front row that no one had called on yet. She decided to go for it, and walked straight toward him to ask, “Could you please come help me?” Whatever attention she had gotten for being a gender anomaly in the 20- person close-up competition was dwarfed by the fact that the girl had just picked Muhammad Ali. When he joined her on stage, Menna doubled down on her carefree clown character. “Hi! My name’s Lisa! What’s your name?” She had no idea that her feigned innocence would get such a big reaction. “My name’s Joe,” Ali responded. “Joe Frazier.” More laughter. “Gosh Joe, you sure have big hands,” Menna said. The room erupted. Menna was born in Connecticut in 1964. When she was four years old, her family relocated to St. Louis, where she encountered magical clown Steve “Ickle Pickle” Bender at her older brother’s birthday party. When she was seven, Menna received her first magic set as a gift from her mother, who during her own youth had mailed in 57 Popsicle wrappers collected over the course of a single summer in exchange for a set of multiplying billiard balls. -
The Affective Turn, Or Getting Under the Skin Nerves: Revisiting Stelarc
Medienimpulse ISSN 2307-3187 Jg. 50, Nr. 2, 2012 Lizenz: CC-BY-NC-ND-3.0-AT The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc Jan Jagodzinski Jan Jagodzinski konzentriert sich dabei auf das 0,3-Sekunden- Intervall, das aus neurowissenschaftlicher Sicht zwischen einer Empfindung auf der Haut und deren Wahrnehmung durch das Gehirn verstreicht. Dieses Intervall wird derzeit in der Biokunst durch neue Medientechnologien erkundet. Der bekannte Performance-Künstler Stelarc steht beispielhaft für diese Erkundungen. Am Ende des Beitrags erfolgt eine kurze Reflexion über die Bedeutung dieser Arbeiten für die Medienpädagogik. The 'affective turn' has begun to penetrate all forms of discourses. This essay attempts to theorize affect in terms of the 'intrinsic body,' that is, the unconscious body of proprioceptive operations that occur below the level of medienimpulse, Jg. 50, Nr. 2, 2012 1 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc cognition. I concentrate on the gap of 0.3 seconds that neuroscience posits as the time taken before sensation is registered through the skin to the brain. which I maintain has become the interval that is currently being explored by bioartists through new media technologies. The well-known performance artist Stelarc is the exemplary case for such an exploration. The essay ends with a brief reflection what this means for media pedagogy. The skin is faster than the word (Massumi 2004: 25). medienimpulse, Jg. 50, Nr. 2, 2012 2 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc The “affective turn” has been announced,[1] but what exactly is it? Basically, it is an exploration of an “implicit” body.