Lecture Notes 2010
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The Expert Escamoteur's Equipment
The Expert Escamoteur’s Equipment Tony Shiels An Exploration in Three Parts of Various Aspects of Cups and Balls Conjuring It is strongly recommended that you print this ebook out before reading. Staple the pages together - or better still take the pages to you local Staples or office supply store and have it bound. Add your own notes and ideas as they come to you. That way you will turn this ebook into a valuable reference document. Contents & illustrations copyright © Tony Shiels 1966 and 2006 These articles originally appeared in The Linking Ring, the magazine of The International Brotherhood of Magicians http://www.magician.org There is no charge for this ebook. You are free to share it with your friends provided it is left unedited and in its entirety. Introduction by Quentin Reynolds If you associate the name of Tony ‘Doc’ Shiels with weird, strange and bizarre magick, you will, no doubt, be surprised to discover that in his professional work, the Linking Rings and the Cups and Balls effects, were the stable part of his repertoire. As you read through this manuscript, and bear in mind it was written in 1966, you will be inspired by his enthusiasm for the subject. In more recent times the Cups and Balls has had a revival back onto the streets and is the featured effect by many of magic’s leading street performers. At the rear of this manuscript I’ve listed some recommended further reading, published since Tony’s articles first appeared in The Linking Ring. As publisher of one of Tony’s other books, The Shiels Effect http://www.TheShielsEffect.com I was delighted to discover some of his older writings lost in the files of magazines. -
Therapeutic Magic: Demystifying an Engaging Approach to Therapy
Therapeutic Magic: Demystifying an Engaging Approach to Therapy Steven Eberth, OTD, OTRL, CDP Richard Cooper, Ed.D, FAOTA, OTR Warren Hills, Ph.D, LPC, NCC ●What strategies could you use to introduce therapeutic magic with your clients? Quick Survey ●What barriers exist that may impede your ability to use therapeutic magic? History of Magic • Dr. Rich Cooper • In the beginning . ●The use of magic as a therapeutic activity has existed since World War 1 History of Magic ●Occupational therapy literature evidenced the use of therapeutic magic in 1940 History of ●Project Magic was conceived by magician, Magic David Copperfield and Julie DeJean, OTR ●In 1981, the Department of Occupational Therapy at the Daniel Freeman Center for Diagnostic and Rehabilitative Medicine in Inglewood, California piloted the use of magic History of ●In 1982, Project Magic was endorsed by the Magic American Occupational therapy Association ●The Healing of Magic program was developed History of by world renown illusionists Kevin and Cindy Magic Spencer ●In 1988, Kevin suffered injuries to his head and lower spinal cord from a near-fatal car accident ●In support of his own recovery, he worked with therapists in North Carolina on what was to become the foundation for “The Healing of Magic” ●Kevin earned Approved Provider Status from the American Occupational Therapy Association History of ●He is considered the leading authority on the therapeutic use of magic in in physical and Magic psychosocial rehabilitation https://www.spencersmagic.com/healing-of- magic/ Our Story Our humble beginning . ● How we got started ● The search for training materials begins ● What we’ve done: WMU Story ● # of students ● Grant for materials ● Resource boxes ● Documentation and reimbursement skills ● Program evaluation student surveys I am in my second fieldwork one right now at the Kalamazoo Psychiatric Hospital. -
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. -
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 -
Model of Information Process for Neuromagic
Model of information process for neuromagic David Bestue1,2 1. Institut d'Investigacions Biomèdiques August Pi i Sunyer (IDIBAPS) 2. Universitat de Barcelona (UB) Abstract In this work, I structure the magical knowledge around the neuroscientific literature. For that, I present a theoretical neuropsychological model to illustrate how magic tricks can interfere with different processes of the information flow. This model combines different memory stages, the perceptual pathway, the emergence of attention and the consciousness threshold to provide a holistic picture of how magic functions from the neuroscientific perspective. Following the model, I also present a misdirection definition and classification that is more accurate with the biological reality than the existing ones. Introduction Over the last few years, the field of neuroscience has developed a branch based on the combination of both magicians and neuroscientists knowledge–“neuromagic”- (Tompkins et al., 2016; Shalom et al., 2013; Kuhn et al., 2008; Rissanen et al., 2014; Lamont & Henderson, 2009; Olson et al., 2015; Rensink & Kuhn, 2015; Ekroll et al., 2017; Barak & Tsodyks, 2014; Kuhn, 2019). The goal of magicians is to surprise their audience and to do so, they create magic tricks that are increasingly impressive. In this process, they are inadvertently lighting a lot of processes underlying attention, perception and memory (Kuhn et al., 2016; Wiseman et al., 2016; Rieiro et al., 2013; Cui et al., 2011; Demacheva et al., 2012; Kuhn & Land, 2006). In this work, I propose a model to address the impact of magical techniques based on a neuroscientific framework of how the brain processes information. 1 The popular notion that magic works because “the magician makes us look elsewhere” has pushed the field to investigate attention through magic. -
Jan :: Something About Magic
Jan. 2019 // Magic Pop-Up // Something About Magic And Magician Culture by Geoff Kanick magic sleight-of-hand prestidigitation conjuring There are different ways to define it. How do you define it? The power of apparently influencing the course of events by using mysterious or supernatural forces. Teller defined it as: The theatrical linking of a cause with an effect that has no basis in physical reality, but that — in our hearts — ought to. I asked my 4 year old niece Coco what magic is and she said, “A lot…and none.” Which might be the most profound answer. There are many categories of magic: Close-up magic Stage magic Illusions, which are sometimes called Big Box Magic There’s parlor magic Mentalism… which some mentalists argue is not magic Street magic Bizarre magic Mathemagic Card magic Coin magic Comedy magic Kids magic Gospel magic Quick Change Acts Manipulation Acts Cardistry Escapology Pickpocket Routines Impromptu Magic There are people rooted in the traditions of the Spanish school of magic. Jan. 2019 // Magic Pop-Up Others who look to the teachings of Dai Vernon and Charlie Miller. There are lectures and conventions, big conventions where more than 1000 magicians gather and fill an expo hall with magic and vendors and late night jam sessions. Some magicians call them tricks, some call them effects, or illusions. There are debates whether to use a push off or a strike. Snap changes Double deals The Diagonal Palm Shift The Pass Erdnase color change The Bubble Peek The Glide Riffle Shuffle OverHand Shuffle Waterfall Shuffle Faro Shuffle Hindu Shuffle Zarrow Shuffle A triple cut An Under Cut A Table Cut A Slug A Stack A Peek A Glimpse A Steal An X Card An Out A Trap A Flash A Gaff A Fan A Pressure Fan A Card Spring A Dribble Feeling Heat And hours in front of the mirror Lots of different thoughts about who Erdnase really was… Jan. -
Exhibition Guide & Event Highlights Staging Magic
EXHIBITION GUIDE & EVENT HIGHLIGHTS STAGING MAGIC A warm welcome to Senate House Library and to Staging Magic: The Story Behind the Illusion, an adventure through the history of conjuring and magic as entertainment, a centuries-long fascination that still excites and inspires today. The exhibition displays items on the history of magic from Senate House Library’s collection. The library houses and cares for more than 2 million books, 50 named special collections and over 1,800 archives. It’s one of the UK’s largest academic libraries focused on the arts, humanities and social sciences and holds a wealth of primary source material from the medieval period to the modern age. I hope that you are inspired by the exhibition and accompanying events, as we explore magic’s spell on society from illustrious performances in the top theatres, and street and parlour tricks that have sparked the imagination of society. Dr Nick Barratt Director, Senate House Library INTRODUCTION The exhibition features over 60 stories which focus on magic in the form of sleight-of-hand (legerdemain) and stage illusions, from 16th century court jugglers to the great masters of the golden age of magic in the 19th and early 20th centuries. These stories are told through the books, manuscripts and ephemera of the Harry Price Library of Magical Literature. Through five interconnected themes, the exhibition explores how magic has remained a mainstay of popular culture in the western world, how its secrets have been kept and revealed, and how magicians have innovated to continue to surprise and enchant their audiences. -
Making Sense of Magic
13th International Conference on Naturalistic Decision Making 2017, Bath, UK Making Sense of Magic Simon HENDERSONa aCranfield University ABSTRACT This paper discusses the sensemaking processes a spectator experiences when they are fooled intensely by a strong magic effect. The paper focuses on the precise ‘moment of magic’– the point at which a spectator’s sensemaking process itself breaks down, and, for a moment, their understanding of reality fails. Factors that moderate the magnitude of this moment are identified, and implications for better utilizing such factors to create similar disruption of sensemaking in other domains are considered, including within the military, the arts and entertainment, and sport. KEYWORDS Sensemaking; Magic; Mental Models; Pattern-Matching; Tonic Immobility INTRODUCTION "Alice laughed: "There's no use trying," she said; "one can't believe impossible things." "I daresay you haven't had much practice," said the Queen.” (Carroll, 1866, p. 100) “Thus, at the peak moment, the ring rises and blows away their rapid intellectualizing and leaves them with an entirely non-cerebral event.” (Brown, 2001, p. 36) In his 1998 show ‘David Blaine: Magic Man’, Blaine approaches a boy on the street, and begins to shuffle a deck of cards. He hands the deck to the boy, and asks him to cut it anywhere, and to then remove the top five cards at the location he cut to. The remainder of the deck is taken back by Blaine. Whilst turning to face away from the boy, Blaine instructs him to spread the cards he has just removed, to look at their faces, and mentally to select and think of just one card. -
4-4602-318-001 Magic Show.Indd
Instruction Manual Franckh-Kosmos Verlags-GmbH & Co. KG, Pfizerstr. 5-7, 70184 Stuttgart, Germany | +49 (0) 711 2191-0 | www.kosmos.de Thames & Kosmos, 301 Friendship St., Providence, RI, 02903, USA | 1-800-587-2872 | www.thamesandkosmos.com Thames & Kosmos UK LP, Goudhurst, Kent, TN17 2QZ , United Kingdom | 01580 212000 | www.thamesandkosmos.co.uk LEARNING THE ART OF MAGIC! Welcome to your new magic kit! Please note that some tricks may require the use of everyday objects such as a cotton thread, nylon fishing line, pencil, paper, glue, and so on, that are not included in the kit. When we refer to, for example, a red handkerchief, this is a recommendation of the color to use as it is more theatrical, but, of course, any color of handkerchief will do. Sometimes we will suggest using a magenta, blue, yellow, or other color of prop. These precise colors may vary slightly from the set that you have just purchased. If this is the case, simply substitute the color of the prop referenced in the instructions for the color of the actual prop that is supplied in your kit. You will master some tricks in seconds and some tricks will require a lot of practice until you have perfected the performance. The most important thing is that you have fun learning magic and performing it! Remember: The magic is lost if you tell your audience how to do the trick, so always keep it secret! ONLINE VIDEO INSTRUCTIONS Many of the tricks in this manual have instructional videos available on our website. -
Close-Up Magic Materials/Michael J. Amico Papers Inventory
Brian Sutton-Smith Library and Archives of Play Close-Up Magic/Amico Papers Inventory Close-Up Magic Materials/Michael J. Amico Papers Processed by: Cheri Crist (2007); inventory revised by Doris C. Sturzenberger Custodial History: The Library of The Strong acquired this group of papers related to the practice of close-up magic from Lars Sandel in July 1992. Sandel provided a comprehensive list of items included in the collection; however, there was no indication or record of the manner by which he came to acquire the items, nor is there any specific mention of the papers of Michael Amico. The original lot included books, booklets, and serials, which were added to the Brian Sutton-Smith Library and Archives of Play. The lot also included three-dimensional items, which were transferred to the Museum of Play collections. The papers had been divided into two boxes: one that contained personal papers of Michael J. Amico, a local, semi-professional, close-up magician; the other, a large number of magic trick instructions, along with a few items that seemed to relate directly or indirectly to Michael Amico. Some of the Amico-related items in the second box were from the Society of American Magicians (both the local and national groups), of which Amico was a member, while others had the word Amico written on them. One item mentions Bob Follmer, who was a friend of Amico. It is unknown how the two boxes are related. Because the same Object ID (93.7077) had been assigned to both sets of papers, the processor made the decision to integrate the two collections into one combined collection. -
The Magic Gang’ Unit to Deceive German Field Marshal Rommel with Fake Tanks, Railway Lines Etc
In WW II, A British Illusionist Formed ‘The Magic Gang’ Unit To Deceive German Field Marshal Rommel With Fake Tanks, Railway Lines Etc. National Magic Day each year on October 31st recognizes the thrill of seeing the performance art. It takes place during National Magic Week. One of the most renowned magicians was Harry Houdini. Known for his *escapology, Houdini had developed a range of stage magic tricks and made full use of the variety of conjuring techniques, including fake equipment and collusion with individuals in the audience. His show business savvy was as exceptional as his showmanship. Magic Day started with a “Houdini Day”, the first of which took place in the summer of 1927, less than one year after the famous magician’s death. His wife presented a trophy in honour of him on that day. Houdini died at 1:26pm on October 31st, 1926. The Houdini Museum is located in Scranton, Pennsylvania. Some magic categories: Stage illusions –a kind of large scale performance on a stage. Parlor magic – a performance before a medium scale audience such as an auditorium. Micromagic – performed close up using coins, cards, and other small items. It’s also known as close-up or table magic. This type of performance occurs in an intimate setting. Escapology – In this type of performance, the artist escapes from a dangerous situation such as being submerged underwater while handcuffed or dangling from a burning rope. Pickpocket magic – A distraction type of performance, the artist, makes watches, jewelry, wallets, and more disappear through misdirection. The audience witnesses the entire event. -
Dai Vernon & Bruce Cervon
Public Auction Sale #005 The Collections of Dai Vernon & Bruce Cervon and Fine Vintage Magic, Including Apparatus, Posters, Ephemera and Rare Books Saturday, January 30, 2010 10:00 AM Exhibition January 28 &29, 10 - 5 For Inquiries, call 773-472-1442 Or email [email protected] The printed edition of this catalog is available from www.potterauctions.com Place bids and browse color photos of each lot (beginning Dec. 22) at www.liveauctioneers.com Auction & exhibition to be held at our new Chicago gallery (address below) 3726 N. Ravenswood Ave. -Suite 116- Chicago, Illinois 60617 Introduction ollywood became the center of the magic world in 1963. That year, Dai Vernon, known to Hmagicians world wide as “The Professor,” moved to California. On arrival, Vernon took up residence at the Magic Castle, where he would remain a fixture for the next 25 years — and become an icon. From the Castle flowed Vernon’s dictum of natural magic; he avowed deep study of the art as a route to perfection. These and other mantras he would impart both through the written word and in person, to countless associates, fans and students. In 1964, a Midwestern sleight-of-hand artist, Bruce Cervon, also moved west. Southern California, he’d been assuredd, was the nexus of all things magical. The Magic Castle was the place to perform close-up magic. And Vernon was there. Almost immediately upon their initial meeting, Cervon and Vernon developed a strong, important friendship and student/teacher relationship. From their sessions came weighty ideas, concepts and published works: most prominently, Cervon’s Castle Notebooks and The Vernon Chronicles.