• Drew’s Decoherence Discussion

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    Every so often I head over to the Green Latrine to see the “Latest and Greatest” tricks for sale. I’m not a fan of the site or its toxicity, but I find it’s an effective way for me to find out what I’m missing out on. I was begrudgingly doing my periodic search back in March, when I found a new post by Atlas Brookings himself: “Hello all! After eight years in creative isolation, I bring you: Decoherence.”

    As an original fan of Atlas Brookings, I was trying hard to not pee my pants. There was only one thing I had a reservation about. Was this new thing about to be hard as hell? Don’t get me wrong, I like practicing. The fellow writers on this blog who know me and the effects I perform will concur. I liked Train Tracking in the day, and was able to do it with relative ease. I just wasn’t sure if I was ready to commit to that level of practice again with everything going on in my life right now. That was until I read a reply from Atlas on the Decoherence thread: “If you can remember a phone number, I think you’re probably going to be okay”.

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  • Every single effect has multiple possible presentations both in terms of the outward mechanism which “causes the magic” and in terms of the nature of that magic. For instance, a penetration could be quantum teleportation or rotation through a fourth dimension. A production could be materialization from a pocket dimension or a quirky optical illusion. And a prediction of the future could be the natural outcome of an influential force exerted in the past.

    And sometimes you want to take an effect you already do or borrow one from some other magician and adapt it to use a completely different presentation. This must be done with some care and thought. In particular, one must make sure not to accidentally import some aspect of the old presentation that actively undermines the new presentation.

    Someone who spends a lot of his time thinking about different ways to present the same or similar effects is John Bannon, and despite the great deal of respect I have for his work, I’m going to pick on him a little bit here. But first, let me be the 99th to recommend his new Substack DEALING WITH IT that replaces his regular Genii column. A trick a month for less than $3 each? Yes please!

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  • Let’s Keep Tutorials Basic

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    I used to enjoy magic tutorials. I used to get home from school and be excited to watch the explanation for the latest move or gimmick that I invested in. I felt like I was actually consuming tons of useful information. Maybe I was. Now, I disdain seeing a runtime for a tutorial over an hour. I have a life to lead, friends to see, a girlfriend to date. I understand if it’s for a sleight. You want multiple angles, and to be taught in-depth. The more time you take to learn how to do the sleight correctly, the less time you have to spend on finding those subtleties and solving those problems with the move yourself. It’s like that cheesy quote often misattributed to Abe Lincoln: “Give me six hours to chop down a tree and I will spend the first four sharpening the axe.”

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  • Oz and Woes

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    Editor’s note: Happy Juneteenth. For this occasion, we’re doing away with the PCP (Political Containment Policy). But hey, the excerpt is short. Read on if you dare.

    I try my damnedest to be optimistic about the future of magic. I see efforts to make the art form more inclusive, accessible, to champion performers of various stripes, and I take joy in all of it. And then I see another headline about Oz Pearlman, and I once again curse at the gods above.

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  • It feels like there has been a renewed interest in the Curry Open Prediction plot recently (what with all the drama surrounding Unnamed Magician), and behind the scenes here, it’s a plot we at the Oval have discussed on multiple occasions. Each of us has our own favorite methods, but methods are useless without a presentation.

    It feels like 99% of the presentations out there for this and similar plots fall into two veins: prediction and influence. Both of these lean more toward magician-centric than participant-centric, and the specific mechanics of the plot don’t seem well-justified by either of these presentations. So here’s my attempt at truly making the participant the star of the show in a presentation that feels grounded in reality and makes the mechanics make sense in context:

    “Have you ever seen those IQ tests where they give a sequence of abstract images they say form a pattern and then ask you what the next one in the series should be?”

    From Wikipedia user Life of Riley

    “After the first few easy ones, I always struggle with figuring out what the rule is supposed to be with those things. But it feels like I get them right more often than I should even when I’m just guessing. It’s like my intuition is better at continuing a pattern than my rational mind is at explaining how that pattern is constructed. So the last time I played with them, I tried a trick: I overloaded my brain to see if I could get that rational part of my mind to just reinforce instead of override my intuition. The way I do it is like this: I sing an old song I know the lyrics to while I study the pattern, and then, even if I can’t figure out what the rule I’m supposed to be following is, I just go with my gut after a minute or so. Would you like to see if it works for you?”

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  • It may seem crass for a lesbian to give dating advice on a magic blog, especially when the nature of this place means I can’t prove myself as an expert. But, to assert myself for a moment, I’m a very good flirt. I’ve spent many a night going to a bar or a club, finding some stranger to talk to, and ending the night at said stranger’s house. I’ve also been consulted on how to flirt by most of my friends, so I have advice to give. And flirting, or being flirty, or even just being charismatic, is something magicians tend to be absolutely dog-shit at, so I figure I could help some of y’all out with some actual decent advice that doesn’t come from a misogynistic douchebag man. I’ll explain how this all applies to performing towards the end, but first, advice.

    You know stock pick-up lines? Those god-awful attempts at compliment and rapport that normally just result in the flirter coming across as awkward, creepy, or cringe? “Are you from Tennessee? Because you’re the only ten I see,” “Did it hurt when you fell from heaven?” “I seem to have lost my phone number. Can I have yours?” That shit? I want to start here, because lines like these are often where people start out when looking to display charisma they’re not confident they have. These lines don’t work, but it’s important to understand why they don’t work. It’s not just because they’re bad or ineffective: it’s because they lack context.

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  • I was performing one of my favourite effects for my friend the other day, the swami-divined number. I understand the swami can be used in ways that are much more interesting than guessing a shitty two-digit number. I just find myself going back to it again and again because of the sheer directness, great reactions, and just how fun it is to perform. I digress.

    This is what I throw in my backpack and carry around with me everyday. A pencil to match the writing from my thumbwriter, a plastic pencil tip cover to protect the lead, a small pad, and Franz’s Easy Writer.
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  • Editor’s note: Switching to posting Friday instead of Sunday.

    Psychological research shows that small amounts of alcohol can lower inhibitions enough to improve certain kinds of creativity.1 But those papers frequently qualify that with “however, getting completely shit-faced has never helped anyone’s bottom line.” Or, you know, something equivalent in dry academic language.

    On the other hand, Michael Baker from The Magic Company drunkenly stumbled upon a massive improvement to a classic prop and doesn’t even seem to realize it:

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  • The following presents two alternative approaches for shuffling on behalf of audiences who are on the other side of a camera from two different Oval writers. We’ll start with Drew’s take, and move on to Franklin’s which you can do half asleep.

    Drew’s Version

    The following technique was inspired by my friend who was performing a card trick for me over Skype. The trick he was doing starts from a shuffled deck, and he wanted me to know that the deck could start in a random order. He said “If you were here, you could shuffle it any way you wanted. Since you’re not here, just tell me how to shuffle. Do you want me to overhand, cut, or riffle?” Whatever shuffle I chose, he proceeded to do the cleanest, slowest version of that shuffle he could for me.

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  • The Theatre Behind the Fold

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    Editor’s note: Short post this time. We have several meatier posts in the queue, but they need a bit more polish. So use the time we’re saving you today wisely so you’ll have more time to read in the coming weeks.

    This is a small way to improve the revelation of a folded card. It’s something I’ve done in performances to ensure any drama isn’t lost.

    If you fold a card into quarters, the indices of the card usually peek out and you run the fairly large chance of ruining the revelation before they unfold the card. They see what card it is before they even unfold it. 

    If the technicalities of your effect permit you, try this simple approach instead. 

    (more…)

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