The Importance of Magic

A weblog dedicated to pushing the Magical Arts forward from the inside. The mission of this publication is to articulate and inspire the Magician's community to move beyond the pitfalls that continually threaten The Greatest Art.

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Un-Equivoque and The Use of a Non-Magical Force

Those who study both the Magical Arts and Orientation Sailing are well versed in their greatest overlap-- the notion that no path that can be re-traced is worth sailing (my inadequacies in Latin are forcing me to paraphrase instead of quote). I see, all to often, young Magicians beginning sequences with standard equivoque methods. That problem with this, as many Italian-schooled Magicians may reluctantly recite, is that, given the opportunity, an audience will recross any bridge you have hastily built until it is destroyed.

In fact, Mid-century editions of the Code of Magic (or the Code of Unseen Wisdom [trslt] as it was briefly renamed) forbid Magicians from performing a sequence that could be stepped through in reverse. This meant that methods were either never repeated or they were self-restoring.

So how to fix this?

The answer is incredibly simple and is a core principle in Classic Mentalism (not to be confused with Modern Mentalism): Mindful Selection. Instead of engaging an audience member to make “any” selection (which you then “make” correct), select an audience member who will choose the option you need. In simpler terms: who needs Equivoque when your spectator naturally chooses the correct option?

Many young (or amateur) Magicians rely on Magical-Forces because they have no other option. But, the advanced Magician who is well-versed in Mindful Selection (and subsequently Detail Blocking) can ensure success without retraceable methods. Simply select a spectator who will make the correct choice (I know, easier said than done without the proper training) and allow them to speak freely. This way, without Magical Risk, you are creating a path which cannot be back-tracked. Neither the spectator (nor amateur Magicians!) will have any idea how your method produced the desired result.

That is to say: sometimes pulling a rabbit out of a hat does not require you to place a rabbit into a hat ahead of time. Instead, find a hat that naturally has a rabbit inside and pull it out (to the delight of the crowd).

Do not force the spectator to make a choice, choose a spectator who will make the correct one. Easier said than done, but is that not the burden of the Magical Arts?

Quesce, palesque!

Hat of Black

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Arrogance of the Backpalm

While it is admittedly old-minded I am of the belief that the greatest Magic is the trick that is never performed. Let me explain...

Many of those young to the Magical Arts are unaware of the difference between a Presentation Angle and a Houdini (otherwise known as “Utility”) Angle. The simple distinction is that a Presentation Angle is a method that goes out of it’s way to boastfully present a move to the Audience, and a Houdini Angle is a method that the Audience never notices (and is not intended to notice). While Presentation Angles have become in-vogue because they challenge the Audience to feel like some “magic” has been committed, they are frequently less effective than Utility Angles and draw dangerous attention to the fact that a “trick” is being performed.

This is well beyond fixing at this point, but I have noticed that the previously frowned-upon (within elite magic circles) use of the Backpalm has entered ubiquity in the average Magician’s cardistry. When first conceived, the backpalm was considered a joke among Magicians-- a preposterous move that was only meant to entertain other Magicians. However, less-read Magicians began seeing it within Magic circles and it quickly became part of the public-facing array of basic cardistry methods. To be clear, this is a method that was never meant to reach the public eye. In fact, early editions of the European Code of Magic used footnotes to dissuade (though not entirely ban) European magicians from using it (when I return to Massachusetts this Fall I will attempt to dig up these exact footnotes).

I suggest that the Modern Magician remove it entirely from their repertoire. Any situation in which you make use of a backpalm can be easily swapped with the method of not actually having a card (more on this in future posts. see: Non-Magical Absence). The pure card-wranglers of the Magic World know that the greatest achievement in cardistry is to have the Audience not even understand that entertainment is taking place. If you use a Bernali Chart to plot your moves, it’s easy to see that every instance of backpalming is superfluous (and frequently means the moves before and after are as well). Remember, not performing is often more powerful than performing, and in the case specifically of the backpalm: exerting your arrogance over the audience can do more to harm your Magical status than any use of the backpalm could hope to add.

So next time you are tempted to slip a card behind your hand and make a name of yourself, remember that a firm handshake (absent of any cards) provides more soil for your Magical growth than “magic beans” of an arrogant method.

Quesce, palesque!

Hat of Black

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My Mind Now Public

I have decided (after much deliberation) to make my thoughts on The Magical Arts public because I would like to inspire future generations. Until this day I have left my knowledge and advisement to private correspondence and professional relationships (read: compensation). But, I fear that the Magical community is growing increasingly casual and as such I would like to instill my specific perspective on professionalism back into it’s core.

I will use this weblog as a place to freely grant my expertise to the public in the hope that it can help Magic at large. If you are a competitive young magician who believes they deserve to rise above their peers or perhaps you are an experienced magician looking to gain status and power through The Great Art, I suggest you take my words seriously and without humor. I do not mince words. I belong to a school of thought that often runs counter to Mainstream Magical Methodology (which I believe to be generally quite casual these days). But, if you believe that great art is birthed from a strict observance of rules and history, then you have much to gain from the knowledge I am prepared to share.

I am one of the most dedicated guardians of the official Code of Magic (all editions) and I refer to it frequently. I have trained and studied with names that would seem boastful to type here and other names who would go unrecognized due to their unwavering ability to remain anonymous. My impact of the Magical Arts is describable and should you choose to listen, you will hear it (perhaps indirectly).

So, I thank you for joining me on this journey and please let me know if there are particular lessons or topics you would like me to explain. I will try my best not to merely transcribe sections I have written from previous publications, but due to other time commitments I can not promise this. My goal is to connect with you. My mission is to educate you.

Quesce, palesque!

Hat of Black