Magic Tokens Reference Guide
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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. -
The Underground Sessions Page 36
MAY 2013 TONY CHANG DAN WHITE DAN HAUSS ERIC JONES BEN TRAIN THE UNDERGROUND SESSIONS PAGE 36 CHRIS MAYHEW MAY 2013 - M-U-M Magazine 3 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: Mona S. Morrison, M-U-M Advertising Manager 645 Darien Court, Hoffman Estates, IL 60169 Email: [email protected] Telephone/fax: (847) 519-9201 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 - MAY 2013 M-U-M MAY 2013 MAGAZINE Volume 102 • Number 12 26 28 36 PAGE STORY 27 COVER S.A.M. NEWS 6 From -
The Effects of Exposure on the Ecology of the Magic Industry: Preserving Magic in the Absence of Law," Cybaris®: Vol
Cybaris® Volume 6 | Issue 1 Article 2 2015 The ffecE ts of Exposure on the Ecology of the Magic Industry: Preserving Magic in the Absence of Law Jared R. Sherlock Follow this and additional works at: http://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Sherlock, Jared R. (2015) "The Effects of Exposure on the Ecology of the Magic Industry: Preserving Magic in the Absence of Law," Cybaris®: Vol. 6: Iss. 1, Article 2. Available at: http://open.mitchellhamline.edu/cybaris/vol6/iss1/2 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Sherlock: The Effects of Exposure on the Ecology of the Magic Industry: Pre Published by Mitchell Hamline Open Access, 2015 1 Cybaris®, Vol. 6, Iss. 1 [2015], Art. 2 THE EFFECTS OF EXPOSURE ON THE ECOLOGY OF THE MAGIC INDUSTRY: PRESERVING MAGIC IN THE ABSENCE OF LAW JARED R. SHERLOCK † I. Introduction ................................................................................. 3 II. BackGround of Intellectual Property in the Magic Industry .................................................................................... 4 A. Brief History ...................................................................... 4 B. The -
Tommy Wonder & Stephen Minch)
Downloaded from www.vanishingincmagic.com by Ray Hyman EDITED by Joshua Jay Cover designed by Vinny DePonto Layout by Andi Gladwin Downloaded from www.vanishingincmagic.com by Ray Hyman Magic in Mind was prepared in cooperation with the Society of American Magicians, and the ebook will be made available for free to all members worldwide. www.vanishingincmagic.com All rights reserved. The essays in this book are copyrighted by their respective authors and used with permission. No portion may be reproduced without written permission from the authors. Downloaded from www.vanishingincmagic.com by Ray Hyman AcknowledgEments Magic in Mind started out as a project intended expressly for serious young magicians, but the first of many lessons I learned during my two-year endeavor is this: age has little to do with learning. It was evident, early on, that this collection would benefitanyone serious about getting serious in magic. So here we are. Thanks to all the generous magicians who have allowed me to include their work in this collection. I am overwhelmed by the support they have shown. In particular, I wish to single out Darwin Ortiz, whose writings I admire greatly, and who went against a personal policy, and agreed to participate. I consider it a favor to me, and a favor to all those who will learn from his writings. Thanks, Darwin, for being flexible and generous. Thanks to Stephen Minch, whose encouragement and “pull” helped initiate the project. Irving Quant helped with the translation of “Fundamentals of Illusionism” by Juan Tamariz. Denis Behr suggested a few essays I was not familiar with. -
SCIENCE and RELIGION 2001 21 Introduction Introductory Thoughts KENDRICK FRAZIER
THE COMMITTEE FOR THE SCIENTIFIC INVESTIGATION OF CLAIMS OF THE PARANORMAL AT THE CENTER FOR INQUIRY-INTERNATIONA1 (ADJACENT TO THE STATE UNIVERSITY OF NEW YORK AT BUFFALO) • AN INTERNATIONAL ORGANIZATION Paul Kurtz, Chairman; professor emeritus of philosophy, State University of New York at Buffalo Barry Karr, Executive Director Joe Nickell, Research Fellow Massimo Polidoro, Research Fellow Richard Wiseman, Research Fellow Lee Nisbet, Special Projects Director FELLOWS James E. Alcock,' psychologist, York Univ., Susan Haack, Cooper Senior Scholar in Arts Loren Pankratz, psychologist. Oregon Health Toronto and Sciences, prof, of philosophy. University Sciences Univ. Jerry Andrus, magician and inventor, Albany, of Miami John Paulos, mathematician. Temple Univ. Oregon C. E. M. Hansel, psychologist, Univ. of Wales Steven Pinker, cognitive scientist, MIT Marcia Angell, M.D., former editor-in-chief, Al Hibbs, scientist, Jet Propulsion Laboratory Massimo Polidoro, science writer, author, New England Journal of Medicine Douglas Hofstadter, professor of human under executive director CICAP, Italy Robert A. Baker, psychologist, Univ. of standing and cognitive science, Indiana Univ. Kentucky Gerald Holton, Mallinckrodt Professor of Milton Rosenberg, psychologist. Univ. of Chicago Stephen Barrett M.D., psychiatrist, author, Physics and professor of history of science. consumer advocate, Allentown, Pa. Harvard Univ. Wallace Sampson, M.D., clinical professor of Barry Beyerstein,* biopsychologist, Simon Ray Hyman,* psychologist. Univ. of Oregon medicine, Stanford Univ.. editor, Scientific Fraser Univ., Vancouver, B.C., Canada Leon Jaroff, sciences editor emeritus. Time Review of Alternative Medicine Irving Biederman, psychologist, Univ. of Sergei Kapitza, former editor, Russian edition. Amardeo Sarma, engineer, head of dept. Southern California Scientific American at T-Nova Deutsche Telekom, executive Susan Blackmore, psychologist, Univ. -
Magic, Trick-Work, and Illusion in the Vampire Plays
MAGIC, TRICK-WORK, AND ILLUSION IN THE VAMPIRE PLAYS by THOMAS LEONARD COLWIN, B.A., M.A. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted Dean^f the Graduate School August, 1987 30I c 1987 Thomas Leonard Colwln ACKNOWLEDGMENTS I am indebted to Professor Forrest Newlin for his direction of this dissertation and to the other members of my committee. Professors Kenneth Ketner, Richard Weaver, Michael Gerlach and Michael Stoune for their helpful criticisms. I also wish to acknowledge the invaluable assistance and support of my friend, Esther Lichti. Finally, I wish to express my deep gratitude to my wife, Jane, for her tireless support, helpful criticism, and unending hard work in the preparation of this study. 11 CONTENTS ACKNOWLEDGMENTS ii CHAPTER I. INTRODUCTION: MAGIC IN THE THEATRE 1 II. THEATRICAL ILLUSION 10 III. MAGICAL ILLUSION 24 IV. ILLUSION VERSUS ILLUSION 35 V. TRICK-WORK IN THE VAMPIRE PLAYS 44 VI. CONCLUSION: MAGIC FOR THE THEATRE 87 ENDNOTES 92 BIBLIOGRAPHY 102 APPENDIX 110 111 CHAPTER I INTRODUCTION: MAGIC IN THE THEATRE Magic has always held a place in the world of the theatre. Within the whole of dramatic literature there exists a body of plays which all contain elements of the magical, the mystical, the supernatural. Some of these plays have only overtones of the paranormal, but a great many more call for seemingly magical or supernatural events to be realized on the stage. As far back as the fifth century, B.C., the Greeks used devices like the mechane, or crane, to give the illusion of Perseus on his flying horse or of various gods descending from the heavens. -
150 Tricks Gold Edition
150 TRICKS GOLD EDITION Booklet 1 Introduction Dear Parents, this magic set offers your child a chance to learn captivating tricks and then perform them for a delighted audience. In order to learn the art of magic however, a great deal of patience, practice, and daring is required. Help your child to learn these tricks, and if a trick doesn’t work on the first try, keep encouraging them. The most important step on the path to becoming a successful magician is practice; rehearsing tricks until one has truly mastered them. Only then is a successful show guaranteed. Performing in front of an audience and not revealing any secrets can also be a challenge for children. Help your child at their show from the side of the stage by acting as an assistant. Help your child think about which tricks to prepare for the show (the show shouldn’t be longer than 15 minutes), where the audience should sit (ideally in front of the magician), and which props (such as clothes, a magician’s table, curtains, or music) are needed. ONLINE VIDEO INSTRUCTIONS Many of the tricks in this manual have instructional videos available on our website. Enter the following web address into your web browser or scan the QR code with a QR code scanner on your smart device. Then enter the code below. The tricks in this manual that are marked with the video symbol above have online videos available. Go to this website: www.thamesandkosmos.com/index.php/magicgoldvideos Then enter this code: G0LDMAG1C We wish you and your child a fun and exciting time! WARNING! Not suitable for children under 3 years. -
The Limited Protections of Intellectual Property Law for the Variety Arts: Protecting Zacchini, Houdini, and Cirque Du Soleil
Volume 19 Issue 1 Article 3 2012 The Limited Protections of Intellectual Property Law for the Variety Arts: Protecting Zacchini, Houdini, and Cirque du Soleil Sara J. Crasson Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons Recommended Citation Sara J. Crasson, The Limited Protections of Intellectual Property Law for the Variety Arts: Protecting Zacchini, Houdini, and Cirque du Soleil, 19 Jeffrey S. Moorad Sports L.J. 73 (2012). Available at: https://digitalcommons.law.villanova.edu/mslj/vol19/iss1/3 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Crasson: The Limited Protections of Intellectual Property Law for the Vari THE LIMITED PROTECTIONS OF INTELLECTUAL PROPERTY LAW FOR THE VARIETY ARTS: PROTECTING ZACCHINI, HOUDINI, AND CIRQUE DU SOLEIL SARA J. CRASSON* Variety acts are a ubiquitous, yet frequently ignored, subset of the performing arts. This article reviews intellectual property law from the perspective of variety artists, exploring the extent to which United States laws protect their work and the implications for the variety arts. I. VARIEThY PERFORMERS AND THEIR WORK Variety performers generally present "non-dramatic" acts, per- formances without a larger, overarching storyline.' Vaudeville, for example, was full of variety performers, as were European music halls. 2 A singer or musician may perform as a variety artist when the artist's performance is not part of a larger dramatic piece. -
Abracadabra! - Why Copyright Protection for Magic Is Not Just an Illusion
Loyola of Los Angeles Entertainment Law Review Volume 33 Number 2 Article 1 2014 Abracadabra! - Why Copyright Protection For Magic Is Not Just An Illusion Janna Brancolini J.D., Loyola Law School, 2014 Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Janna Brancolini, Abracadabra! - Why Copyright Protection For Magic Is Not Just An Illusion, 33 Loy. L.A. Ent. L. Rev. 103 (2013). Available at: https://digitalcommons.lmu.edu/elr/vol33/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. 06. BRANCOLINI.DOCX (DO NOT DELETE) 1/4/14 12:34 ABRACADABRA! — WHY COPYRIGHT PROTECTION FOR MAGIC IS NOT JUST AN ILLUSION Janna Brancolini* In early 2012, a Dutch magician did something unthinkable within the secretive and tight-knit magic community: he posted a YouTube video of himself performing a fellow magician’s illusion, and offered to reveal the secret to his viewers for a $3,050 fee. The illusion, however, was not just any old trick; it was the signature move of Raymond Teller, one half of the famous magic duo “Penn & Teller.” In April 2012, Teller took the unusual step of filing a lawsuit in federal court, alleging copyright infringement and unfair competition, to protect the secret behind his illusion. -
Light from the Lamp Reviews
Light from the Lamp Reviews Tricks REVIEWED BY DANNY ORLEANS because, "clearly," the possibilities are endless. Phantom Deck • Joshua Jay • $40 • www.vanishinginc.com • Phantom Deck Dealers should contact Murphy's Magic Supplies, Inc. on the Joshua Jay $40 web at www.murphysmagicsupplies.com or by phone at (800} Orleans Opinion in less than 25 words: Jerry Andrus' s 853-7403 "Solid Deception" (aka "Omni Deck" ) sliced 52 ways increases your presentation options. Great idea. Beautifully manufactured. An instant classic. Omni Pen David Penn and Spencer Wood $31.50 I HAVE O FTEN STATED that the creations of today's magic 00<25: Jerry Andrus' s "Omni Deck" meets a Sharpie. The sudden discovery of this novel prop surprises spectators. Neat idea. community stand on the shoulders of our predecessors. Joshua's Jay's " Phantom Deck" is a perfect example. WHAT A DELIGHTFUL coincidence Clearly inspired by Jerry Andrus's "Solid Deception," later to receive "Phantom Deck" and the marketed by Danny Korem as "Omni Deck," Mr. Jay has "Omni Pen" (described below) in the created a prop that allows you to magically transform a same month. Consider combining them standard deck into 52 separate, transparent plastic cards. if you want to gild an already gilded lily. Of course, using the traditional "Omni Deck" handling, How do you think your spectators would this can apparently happen in the spectator's hands. react if they discovered that the Sharpie The " Phantom Deck," in some ways, behaves very marker with which they signed their name similarly to a standard deck when it comes to shuffling, rif moments before- the marker that they've fling, and even cascading. -
After the Prestige: a Postmodern Analysis of Penn and Teller
After the Prestige: A Postmodern Analysis of Penn and Teller Elizabeth L. Miller & Joseph P. Zompetti Liz Miller is a third year PhD student in the department of communication studies at the University of Kansas. She received her Masters at Illinois State University and her Bachelor's at Miami University. Her main research interests lie at the nexus between the rhetoric of science and the rhetoric of Islam. Joseph P. Zompetti (Ph.D., Wayne State) is Professor in the School of Communication at Illinois State University. His research interests include the rhetoric of magic, political communication, rhetorical theory and argumentation. He has published extensively in journals such as the Western Journal of Communication, Culture Theory & Critique, and Argumentation. ABSTRACT By mocking the magic community and revealing the secret behind some of their tricks, Penn and Teller perform a kind of parodic and post-modern “anti-magic.” Penn and Teller display an artful use of rhetoric; in exposing the secrets and shortcomings of conjuring, they are revolutionizing the way people think about both the art of magic and the magic community. Individuals such as Penn and Teller may use parody to subvert the hegemonic interpretations. However, we also know that it is difficult to bring down a system while operating within that system. Thus, this article explores the way Penn and Teller are challenging the metanarrative of the magic community, using several of the duo’s more popular illusions as examples for analysis. Ultimately, this paper should help us gain a better understanding of the way parody can be used to challenge hegemonic conceptions, and the limitations of this type of rhetorical approach. -
A Bayesian Account of Magic Tricks
Magic, Bayes and wows: a Bayesian account of magic tricks Magic, Bayes and wows: a Bayesian account of magic tricks Pablo Rodrigo Grassi1, 2, 3, * and Andreas Bartels1, 2, 3 1 Department of Psychology, University of Tübingen, Germany 2 Centre for Integrative Neurosciences, Tübingen, Germany 3 Max-Planck Institute for Biological Cybernetics, Tübingen, Germany * Corresponding author: [email protected] Abstract Magic tricks have enjoyed an increasing interest by scientists. However, most research in magic focused on isolated aspects of it and a conceptual understanding of magic, encompassing its distinct components and varieties, is missing. Here, we present an account of magic within the theory of Bayesian predictive coding. We present the “wow” effect of magic as an increase in surprise evoked by the prediction error between expected and observed sensory data. We take into account prior knowledge of the observer, attention, and (mis-)direction of perception and beliefs by the magician to bias the observer’s predictions and present two examples for the modelling of the evoked surprise. The role of misdirection is described as everything that aims to maximize the surprise a trick evokes by the generation of novel beliefs, the exploitation of background knowledge and attentional control of the incoming information. Understanding magic within Bayesian predictive coding allows unifying all aspects of magic tricks within one framework, making it tractable, comparable and unifiable with other models in psychology and neuroscience. Keywords: Magic, Bayesian surprise, predictive coding, misdirection, attention 1 Magic, Bayes and wows: a Bayesian account of magic tricks 1. Introduction Magic is about violating expectations: a freely selected card is guessed from a random deck, a coin magically appears in a hand, a chair levitates on stage.