The document is a transcript of a live lecture given by magician Gabi Pareras. In the lecture, Pareras performs and discusses several magic tricks from his repertoire. He explains how the tricks have evolved over time as he has refined and polished them based on principles from influential magician Arturo de Ascanio regarding clarity, economy, and rhythm. Pareras views each trick as a teacher that can provide ongoing learning opportunities through examining it in depth.
The document is a transcript of a live lecture given by magician Gabi Pareras. In the lecture, Pareras performs and discusses several magic tricks from his repertoire. He explains how the tricks have evolved over time as he has refined and polished them based on principles from influential magician Arturo de Ascanio regarding clarity, economy, and rhythm. Pareras views each trick as a teacher that can provide ongoing learning opportunities through examining it in depth.
The document is a transcript of a live lecture given by magician Gabi Pareras. In the lecture, Pareras performs and discusses several magic tricks from his repertoire. He explains how the tricks have evolved over time as he has refined and polished them based on principles from influential magician Arturo de Ascanio regarding clarity, economy, and rhythm. Pareras views each trick as a teacher that can provide ongoing learning opportunities through examining it in depth.
The document is a transcript of a live lecture given by magician Gabi Pareras. In the lecture, Pareras performs and discusses several magic tricks from his repertoire. He explains how the tricks have evolved over time as he has refined and polished them based on principles from influential magician Arturo de Ascanio regarding clarity, economy, and rhythm. Pareras views each trick as a teacher that can provide ongoing learning opportunities through examining it in depth.
welcome to Kaps Live, the live streaming lectures group from grupoKaps
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I'm Paco and I'll be the MC today
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I want to say thanks to everyone watching
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we do this for you
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the lectures that we offer come in two parts
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first a regular lecture were our guest
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he'll explain some of his thoughts, tricks and theory's and later
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we'll try to go deeper into the person with an interview. Today's guest
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is one of the great thinkers of modern magic and personally I can say
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his writings have inspired me in the same way as Arturo de Ascanio
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and there's something that everyone here at grupo Kaps
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whenever magicians are arguing about something here in Spain
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and there might be a discussion or no consensus
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someone says anything and finishes with "Gabi said that" 01:17.620 --> 01:22.220 and the conversation ends there, so there must be something to it
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so I'm going to leave you with him with this syllogism
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from his lecture notes "beyond the method" where he states
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"if magic is an art that comes from imagination
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and the imagination doesn't have any tricks then neither does magic"
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ladies an gentleman I give you Gabi Pareras
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that was great, and the syllogism was great
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I couldn't have done it better
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Just in case I've counted all the decks so don't get tempted
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a couple of notes, a little bit of cream for the changes in temperature
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and the cards quality, I went back to the beginning so I brought
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some first versions of tricks that have changed over time
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and I have the notes so I don't forget anything 02:31.240 --> 02:34.040 over the years I've reached the conclusion that every trick
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is a permanent teacher from where you can learn different things
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and like Ascanio says, as you change the tricks changes with you
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you have to grow old with your repertoire or at least part of it
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because it marks stages of growth, development and evolution
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So those tricks are there for infinite reasons
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that's why I say that I could spend 3 hours or 4 days with 1 just trick
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because even the smallest trick can teach you a whole lot
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because it contains all of magic and all you can think of it
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very very concentrated, maybe you have to scratch the surface a bit
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but it's there
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so the idea of the trick as a teacher is fantastic
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and some tricks like the ones I brought today
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reflect this process of evolution
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over the years, how they started
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why they appeared? what was I looking for? and how they've changed
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refining and polishing and meeting all the requirements
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from the greatest teacher in my opinion, Arturo de Ascanio
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the concept of economy and clarity, always in balance
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very subtle and delicate that you have to find in every trick
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because there's no template so you have to become aware of it
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so you can find that constant balance
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to be able to see the whole trick
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in clarity, economy and the slowness
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if something cannot be done slowly it doesn't mean
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that it has to be done slowly, but if you can't measure the rhythm
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then it hasn't been well conceived
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I explain, it is not mandatory to do everything slowly 04:21.460 --> 04:25.160 but you have to be able to do it in a rhythm
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that can be beneficial for you
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because of the patter, the structure, the cover or whatever
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so there's a tendency to dominate the trick
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you rule over the trick and the trick can never rule over you
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because otherwise the you end up with what he called the "maquinita"
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and that was inspired by Dai Vernon
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because when he did a sleight, in order to cover it
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it needed another, and then another so it went like...
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until the trick was over so there were no pauses, no times
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no resting zones, where you can relax
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and just stop for a certain amount of time and then continue
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measuring it artistically and dramatically according to the circumstances
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so let's start with a trick, here I wrote 4 things 05:24.680 --> 05:30.060 "some tricks are always with us and we put into them the"
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-what does it say? -"the distillation of what we are
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having time as an ally"
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its a beautiful phrase if you say it like you're improvising
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but I couldn't, but keep it because it's beautiful, so let's start
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I'll start with the spread triumph
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I have a funny story with Lennart Green in Mexico we went there with
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with... whats your name? Dani? yes, Dani daOrtiz
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every morning in the hotel I do the trick for him and he goes like this
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I don't speak English so he just went like that, so I did it again
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and we spent the whole morning like that, he loved the move
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so it left a good taste in my mouth, so the trick goes like this
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someone picks a card, anyone
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look a it, remember it, the classic procedure, and put it back
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it is very important that everybody sees the card
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so we square it and we cut and shuffle like this
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well shuffled like this
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all cards well shuffled all the way
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this would be the traditional shuffle, but there's another way
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were some of the cards go face down and some of the cards go face up
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and now we shuffle the same way, cards face up and cards face down
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so inevitably there are cards face up and face down all mixed up
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but it's just a matter of snapping the fingers over the deck
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the only snap you'll see in the lecture, it only works for this, there
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so all the cards collude and turn themselves in the same direction
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well, not every cards, all but one because the deck remembers you
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because the deck remembers you.
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-what was the card? - Ace of hearts
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and there you have exactly the Ace of hearts
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this is as a great example, my version of the triumph
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what Lennart wanted to do all the time was the secret packet turnover
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many interesting things about this trick
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one is that it came out years ago when there was an idea
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of turning the packets in opposite directions, something like this
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but I didn't like that at all
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so I started looking for an answer and I found this.
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and always thanks to Ascanio because he could conceptually position you
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this has a lot to do with creative processes so reading over the years
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for example a very interesting but complicated author
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called Luigi Pareyson, I don't know if that rings a bell
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Umberto Eco's book "the open work" is based on him 08:55.380 --> 08:56.900 published during the 70's
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there he talks about the "formed work" and the "forming work"
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so I'm using big words here but when you know the meaning
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you stop being afraid. So he says there are two processes
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the process of the created work
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and the process while the work is still yet to be revealed
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so he says that the artist's view is very foggy
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and as he gets closer, the view becomes clear
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he is zoning in what he wants
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but the end itself is always blurry, if you can see the end clearly
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maybe its not a good sign, the creative process is very blurry
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but what you can see clearly is what you don't want
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and Ascanio was great about that because you were always aware
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so you always know what you don't want 09:43.180 --> 09:46.920 so once you've placed all your "don'ts"
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the fog starts to clear out and the formed work
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starts to appear in front of your eyes and then you refine it
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until it's done
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So Ascanio is very good at that and has great guidelines to follow
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so this is one of the first versions of the triumph that I released
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around 20 years ago, well for me everything is 20 years ago
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because now I'm old enough so that everything around me is old
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anyway
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this meets a condition that I think is essential
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for the internal inspiration and natural suppression of the inner self
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and also to communicate better to the audience, which is
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tricks must be beautiful both inside and outside, not only outside
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so on the outside it can be great 10:32.920 --> 10:34.940 whatever you want
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but when you feel how the moves, techniques and the handling flow together
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and how they develop
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which is what happens with this trick it was a lot drier
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internally,
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but I didn't have any pretensions when I started to conceive the idea
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if you're sensitive to it and you need it.
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then the inner and outer structures come together aesthetically
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and that is very inspiring to share and communicate
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which is the real reason why people should do magic
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that you can't not do it, a lot of writers and artists say that
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like in "letters to a young poet" by Rainer Maria Rilke
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one of the first questions he asks a young poet whom he writes letters to
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he asks the essential question. could you not write poetry? 11:27.140 --> 11:31.940 if you can then don't do it.
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it makes no sense, so, can you not do magic?
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because if you can then look for something else
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that's how it is
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so let's talk about the trick
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it comes from how the techniques come together in this version
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and what Ascanio called the gliding look which a subtle concept
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the look glides because
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it like surfing on top of the aesthetics
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that's being expressed through the handling
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it's not beautiful or aesthetic in the literal sense
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it's just like Juan (Tamariz) talks about the implicit humor
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curiously nobody talks about the implicit beauty of a trick
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which is something that beats and comes from inside
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it's not like you have to embellish it or do something
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to give it an added beauty
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just like the implicit humor, if you add a joke, it comes from outside
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and Juan (Tamariz) talked about the implicit humor
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which the most powerful cover and that comes from the trick itself
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from the absurd comes the laugh
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or with any another ingredient of dramatic character
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it can also have that which is inherent to the trick itself
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it comes out of its own construction
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and while you build it you can look for it
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that subtle beauty that causes the gliding look
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which is a detached and carefree look about the trick
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which is the same needed in an aesthetic experience
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there has to be a moral, technical or practical distance
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so you can focus on the magic and whats essential to the trick
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if you see a painting with a couple of peasants
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burying their dead child in a barren landscape
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with a wooden cart that you can see was used to move the body
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beyond all that tragedy with dark shades and sadness
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if you only focus on the theme then you won't see the aesthetic form
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you won't see it
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you have to learn to distance yourself and change the way you look at it
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in magic we have to incite that point of view
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we cannot wait for it to come, we have to suggest it ourselves
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and in this case is the aesthetic or the magic look
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the way of constructing or composing
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looking for a gliding look achieves just that
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it helps so that everything can be seen
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all the ingredients must be in their right proportion
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if you put more pepper than salt something it's not going to work out
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it's a balance between the whole of them, not just one over the others
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it's just the right amount of each ingredient
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that also appear to be constant and permanent
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because even if doctors tell you you can't have salt
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it's difficult to quit because it's used for everything
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so it's similar to that, there are ingredients that have to be there
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then the attitude, personality and how you present it
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has to do with other factors
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but on a composition level it doesn't
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so let's try to express this idea right here
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this came from some modifications of well known techniques
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it also has to do with the magic courses 14:58.740 --> 15:00.360 I used to teach 9 years ago in Barcelona
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because I have the privilege of going 40 times through the same place
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where most magicians don't go because they don't have to
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I revisit the Vernon's books many times a year
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so I know every crack, every building block
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every alley where people only go through once
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so I know everything about the trick and I keep on looking
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and I get insight that is impossible to get unless
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you go back to it frequently and that also other can understand
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if you can teach it to others is because you've understood it
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but if you can't then you don't understand it enough
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to be able to explain it to someone else
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so teaching classes is great
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I think that every magician should at least teach for a couple of years 16:03.080 --> 16:07.220 because then you can learn a lot and show all the folded knowledge
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because knowledge folds itself, it becomes unconscious
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and then you don't know why do you place the deck a certain way
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I remember when I had to teach the spread
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I used to say that bicycle cards spread themselves I remember when I had to teach the spread
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I used to say that bicycle cards spread themselves
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and this guy could not get it it looked like packets
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it looked like little packets. so why it isn't working?
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and this was very interesting because the reason was so simple
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he wasn't applying pressure
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does it look dumb?
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well I didn't knew how to teach the spread correctly
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because to me applying pressure was second nature so I didn't notice
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the gradual pressure with which you release the cards in a spread
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or on a fan which are another type of spread
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is a closed extension, when you teach a fan
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and you say that the hand acts as a mat and they must be spread
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so that they can go through the thumb the change is amazing
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that process of unfolding the knowledge
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is very fascinating so I recommend a lot to spend some time like that
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while growing up in magic, let's go back to the trick, a card is chosen
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and now er are going to change the concept of the LePaul fan control
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first is that I came back to this which I hated when I started
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I though it looked awful
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it feels like the deck is growling
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but this has an upside too because you can place the card anywhere
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so there's a free choice right there
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now you get to the pre-technique
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the pre-technique is the pre-elmsley pre-double lift
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pre-control, pre-force pre-everything and that's very good
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is good to understand and justify all techniques
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so now you show the card to everyone
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and now you push it in really, not halfway.
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this is crappy, and for this you can be kicked out of magic
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it should be illegal and unconstitutional
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so if you do it you'll hear "I'm sorry sir but you are banned for life
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go collect stamps or something but stop messing with this crap"
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I'll change the card if its ok, so push the card in
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and understand why you have to push it,
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because the top and bottom cards must go down
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in order for the plunger to work
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when I understood this I realized how dumb I was and how dumb are most
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this is the principle
18:53.860 --> 18:58.820
so when this moves, this card comes out, this goes like this
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wait I'm going to do it the right way
19:05.020 --> 19:08.860
it goes like this, when you push this card while pressing
19:08.860 --> 19:10.020
all of this comes down
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and now when you square by turning it this turns
19:13.940 --> 19:18.600
around and when you squeeze the card will come out
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it's very simple and its genius
19:23.320 --> 19:25.460
so you have to understand why it happens,
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and I think almost no one uses this control
19:28.780 --> 19:31.380
first because I think is intimidating
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because some don't understand the move so they just push in the card
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and if it doesn't work?
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well then practice more, is easy to undertand
19:44.620 --> 19:49.540
but if you know the procedure you can understand the work you're doing
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you check visually that it worked and there's nothing to be afraid of
19:53.900 --> 19:58.900
now you have to squeeze here and the card will come out, it always works
19:59.840 --> 20:03.900
not that time because I was showing you how it fails but it always works
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there it is, trust me and you'll see how life is good
20:09.380 --> 20:17.200
it works it works, I'm just joking, this is enough
20:17.340 --> 20:20.860
well after that you can shuffle in the hands or whatever
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I'll show you a variation that I like
20:26.660 --> 20:29.340
you do this, and now all you have to do is push it
20:29.340 --> 20:32.880
how you square it is not important
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the position of the deck doesn't matter either
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what matters is that the card is somewhere around here
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so the Idea is that you push with your index finger
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or with the other middle finger 20:50.300 --> 20:55.300 the card comes out the other side, you separate it and shuffle off
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done lightly it would look like this, and now it's on the bottom
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is a great evolution of the LePaul control that has been overlooked
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if you have not analyzed a sleight
21:09.540 --> 21:16.360
it's difficult to overcome that limit, it's good to know how it works
21:16.360 --> 21:18.740
the magician cannot go down to the level of
21:18.740 --> 21:22.960
just pushing a button and turning on the TV and then forget about it
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no, you have to open the TV and see how it works
21:26.880 --> 21:30.380
you have to know and understand what you have in your hands
21:30.380 --> 21:34.880
so in this case the Vernon secret turnover was perfect for this trick
21:34.880 --> 21:43.600
so the chosen cards, now pressing with the thumb, now you see it worked
21:43.600 --> 21:50.140
now you close it and this should not disturb the card
21:50.140 --> 21:52.720
and now you move it to take it like this
21:54.640 --> 22:00.620
I did something wrong, I'm sorry. the queen of diamonds
22:00.620 --> 22:05.980
pushing in, I see it, I close it, it must protrude out the front
22:05.980 --> 22:08.980
you can see it makes a curve like this
22:08.980 --> 22:11.700
now we got to the table, press with the index finger
22:11.700 --> 22:14.660
we push and they come out this side
22:14.660 --> 22:23.540
this is enough to make a step, I'll make it bigger so you can see it
22:23.540 --> 22:29.800
it's very fascinating, so now when we press using only the ring fingers
22:29.800 --> 22:34.080
we are doing a diagonal insertion on the table
22:34.080 --> 22:42.660
if I do this, this is the diagonal insertion, this comes down straight
22:42.660 --> 22:45.260
I call this "fluid technique" thanks to de Bono
22:45.260 --> 22:51.380
why fluid? because you create an action
22:51.460 --> 22:58.180
and the card can't not go through the pre-established route
22:58.180 --> 22:59.820
and that comes from the shape of the hand
22:59.820 --> 23:04.540
we place the fingers, apply pressure and the card outjogged
23:04.540 --> 23:07.940
so that precision is what guarantees the handling
23:07.940 --> 23:09.400
for example of the diagonal palm shift
23:09.800 --> 23:13.460
which you can do at regular speed because you don't have to dress it up
23:13.460 --> 23:16.680
when you set a course of action
23:16.680 --> 23:20.180
the card without thinking about it can't not do what it has to do
23:20.180 --> 23:22.140
at the time it has to do it
23:22.140 --> 23:27.060
you can do it without running or any pauses, that's fluid technique
23:27.060 --> 23:29.340
and here it happens the same, when you know the procedure
23:29.340 --> 23:34.860
it happens the same, if you do a diagonal insertion from the table
23:34.860 --> 23:38.060
then the card will go in diagonally
23:38.060 --> 23:40.780
so the great thing about step on the table
23:40.780 --> 23:46.160
is that no matter how big it is it always works
23:46.960 --> 23:52.060
but seriously, the 7 of clubs, let's take it to the extreme
23:52.060 --> 23:59.360
there, wait let's square it first, the 3
24:01.140 --> 24:08.100
it's ok? so now I push it, I hold it so I don't lose it 24:08.100 --> 24:11.280 and now I form a break there it is, the 3 of clubs?
24:11.280 --> 24:19.460
there it is, but there are reasons for that, because as small as it is
24:19.460 --> 24:27.180
when the card goes in it can't do anything else, only the ring fingers
24:27.180 --> 24:31.560
on the outer end, just like the push through shuffle
24:31.560 --> 24:35.900
now you have the injog and you hold it with the index fingers
24:35.900 --> 24:38.820
so you don't lose it when trying to find it
24:38.820 --> 24:42.360
now if you lift your thumb there is a long card there
24:42.360 --> 24:46.340
that's all there is, is a long card, so I take it and that's it
24:47.100 --> 24:51.880
and other stuff like "cut, please"
24:51.880 --> 24:54.560
wait, now cut
24:56.560 --> 24:59.100
this would be here, so you do this
25:00.720 --> 25:05.100
it's the same, I push it forward, I place it on top
25:05.100 --> 25:08.020
and now I can make the jog
25:10.960 --> 25:16.560
this can be a lot smaller, I take the jog, I cut and bring it to the top 25:17.420 --> 25:21.480 or what this guy did
25:22.820 --> 25:26.640
what's his name? the famous gambler
25:27.380 --> 25:30.680
Steve, Steve Forte
25:30.680 --> 25:34.860
he made the jog here, the rest doesn't matter
25:37.080 --> 25:42.000
so it's all the same, now with 8 of hearts
25:42.000 --> 25:51.700
LePaul, there it is, cut and now it's automatically in place
25:51.700 --> 25:53.320
for the Vernon secret turnover
25:53.500 --> 25:58.340
a good detail to keep in mind it's better if there's continuity
25:58.340 --> 25:59.360
so make a spread
25:59.360 --> 26:04.100
when this comes back this hand is already waiting and covering
26:04.100 --> 26:06.620
I made a mistake there's two cards there
26:06.620 --> 26:09.220
so let's try to equalize the packets
26:09.220 --> 26:15.160
this depends on where you subtly force the spectator to put the card in
26:15.160 --> 26:19.620
so now you drop one card
26:19.620 --> 26:25.460
now the spread, and when you come back, and when you are squaring it
26:26.320 --> 26:29.740
this is waiting, this is the welding
26:29.740 --> 26:36.520
and the Ascanio welding improves sleights because they are done in transit
26:36.520 --> 26:41.220
and then the move is done, I assume you all know the Vernon turnover
26:41.220 --> 26:44.940
and is in transit, and now another good detail
26:44.940 --> 26:48.040
and is in transit, and now another good detail,
26:48.040 --> 26:53.800
finish always with the ring fingers, not like this
26:53.800 --> 26:58.800
because you can end up looking like an idiot
26:58.800 --> 27:00.100
we've done great up until this point
27:00.100 --> 27:02.140
they took the card, the Lepaul control is great
27:02.140 --> 27:04.460
it went to the table, it was cut and shuffled
27:04.460 --> 27:06.320
so I'm sure that the feeling that is produced in the spectator
27:06.320 --> 27:10.260
is very clean, the card is lost, it disappears.
27:10.260 --> 27:12.740
and people feel that way
27:12.740 --> 27:17.180
it's not enough that it looks like you have a coin in your hand 27:17.180 --> 27:20.500 they have to feel that the coin is in the hand
27:20.500 --> 27:23.560
and that is a lot harder than a false placement
27:23.560 --> 27:25.060
and that takes a lot of work
27:25.060 --> 27:29.020
doing this is a joke, this is just to fool, and it's very crappy
27:29.020 --> 27:32.880
in order to be artistic the spectator must feel that the coin is there
27:32.880 --> 27:35.500
there must be something that maintains the feeling
27:35.500 --> 27:37.700
so that the spectator can't fight it
27:37.700 --> 27:41.700
the intellect can argue with itself or with others
27:41.700 --> 27:44.920
but feelings can't question anything, if it is then it is
27:44.920 --> 27:47.180
so if the spectator feels that the coin is there
27:47.180 --> 27:48.100
then there's no discussion possible
27:48.100 --> 27:49.520
when you open your hand they'll die
27:49.520 --> 27:51.780
because he brought that himself
27:51.780 --> 27:54.820
when it has to do with hindsight, reason or the intellect
27:54.820 --> 27:55.380
that's what you bring
27:55.380 --> 27:58.660
and you can't convince anyone because you are the magician
27:58.660 --> 28:02.600
the trickster, and so how could you convince anyone?
28:02.600 --> 28:06.940
"well shuffled deck" well if you say it then I don't believe you
28:06.940 --> 28:10.740
but if you feel that this is a shuffled deck
28:10.740 --> 28:14.460
and I get you ty you bring that to the table
28:14.460 --> 28:16.940
and then I might not even have to say anything
28:16.940 --> 28:19.380
so then we save words because we magicians talk too much
28:19.380 --> 28:21.320
to say the same thing
28:21.320 --> 28:26.900
we are the kings of repetition, don't square using ring and middle fingers
28:26.900 --> 28:30.180
because this is what happens
28:30.180 --> 28:35.620
can you see the card? I can't see it, I'm sitting here like a god
28:35.620 --> 28:41.060
and everybody is looking at the card
28:41.060 --> 28:45.260
like a complete idiot
28:45.260 --> 28:48.400
and the card is showing, the guy must be dumb obviously
28:48.400 --> 28:53.700
so you can never see it, and that happened to me luckily with a student
28:53.700 --> 28:55.820
he said "I can see the card" and I said
28:55.820 --> 28:58.300
"you can't see anything you don't know what I did"
28:58.300 --> 29:00.320
I always get mad first and then
29:00.320 --> 29:03.580
then I apologize
29:03.580 --> 29:09.120
so when I go like this and see it my jaw dropped to the floor
29:09.120 --> 29:14.120
and all because of squaring like this it may or may not happen
29:14.120 --> 29:21.580
so is very dangerous it's just like a double on the table
29:21.580 --> 29:28.500
imagine that you can see it perfectly from this angle
29:28.500 --> 29:31.140
but from here or here you can't see it
29:31.140 --> 29:33.500
so it's very frightening to think about it
29:33.500 --> 29:36.580
so the once the card is reversed come the sleight that Lennart loved
29:36.580 --> 29:39.040
cut less than half from the top
29:39.040 --> 29:45.360
move both packets at the same time, don't move just one, now spread them 29:45.360 --> 29:49.580 so this packet moves forward, and does the butterfly wings
29:49.580 --> 29:54.260
and if that's not the name I'm sorry, I just call it like that
29:54.340 --> 30:00.820
so we fan the cards outwards so we can have a margin
30:00.820 --> 30:02.400
so the reversed card remains unseen
30:02.400 --> 30:08.420
that takes a little delicateness, and this is more interesting if
30:08.420 --> 30:16.720
instead of guiding it with your fingers just press on it
30:16.720 --> 30:23.700
so without using the finger just pressure
30:23.700 --> 30:27.700
it's more interesting, now it's the game of susceptibilities
30:27.700 --> 30:29.560
it must be economic, clear
30:29.560 --> 30:31.620
and you must be able to do it slowly, if you can't do it slowly
30:31.620 --> 30:36.360
then it doesn't fit the bill
30:36.360 --> 30:39.060
so maybe you need more analysis or you have to get rid of it
30:39.060 --> 30:41.940
so cards face up and face down
30:41.940 --> 30:47.420
cards faces and cards backs, the obtuse idea
30:47.420 --> 30:54.000
which fits very well because in the misdirection levels of Ascanio
30:54.000 --> 30:55.580
between two points of interest
30:55.580 --> 30:58.540
dissolution, were both are equally interesting
30:58.540 --> 30:59.980
Attraction, were one is more interesting
30:59.980 --> 31:02.300
until here, where both are in the spectator field of view
31:02.300 --> 31:04.760
the third is complete deviation
31:04.760 --> 31:07.300
where one attracts all the attention
31:07.300 --> 31:11.020
and leaves the other one out of the field of view
31:11.020 --> 31:13.580
I think it's very clear
31:13.580 --> 31:17.080
Ascanio said that the third level did not occur in magic
31:17.080 --> 31:19.340
I think that he made a mistake there
31:19.340 --> 31:22.260
but I think we are lucky that his mistakes were good
31:22.260 --> 31:27.060
so even at that he was good, that's food for thought
31:27.060 --> 31:32.700
so even when he was wrong he gave good advice
31:32.700 --> 31:40.160
but something that is not specified in the Ascanio Conception 31:40.160 --> 31:42.940 is that these points of interest can be both physical
31:42.940 --> 31:45.160
mental or one of each
31:45.160 --> 31:46.700
but they're still points of interest
31:46.700 --> 31:49.700
you divide where they look on one hand
31:49.700 --> 31:52.320
and the mental attention on the other
31:52.320 --> 31:53.900
when you use an obtuse idea
31:53.900 --> 31:55.720
what happens is that the spectator attention goes inside
31:55.720 --> 32:00.100
if the spectator's looking inside you can do a top change with the guy looking
32:00.100 --> 32:02.960
was that your card? no, is your name Pepe? yes, what was the card? there
32:02.960 --> 32:06.100
he doesn't see anything because he's looking inside
32:06.100 --> 32:10.340
and that's very hard because we are very pragmatic
32:10.340 --> 32:13.700
if people are not clapping or laughing it means that they're not liking it
32:13.700 --> 32:16.260
and sometimes we are not capable of understanding
32:16.260 --> 32:19.440
the journey that we can take the spectator through
32:19.440 --> 32:21.060
if they don't move is because it isn't there
32:21.060 --> 32:25.860
it's like a joke where nobody reacts
32:25.860 --> 32:27.220
but you don't know if they're reacting or not
32:27.220 --> 32:30.980
we have a long way to reach the point
32:30.980 --> 32:34.380
were you can tell they're dying on the inside
32:34.380 --> 32:39.960
even if they don't show it externally it's still happening
32:39.960 --> 32:45.020
I've never seen a guy reading a novel
32:45.020 --> 32:45.940
finishing a chapter by clapping and screaming
32:45.940 --> 32:52.260
no, the guy just keeps reading well it's difficult to understand that
32:52.260 --> 32:58.940
and not be so physical, it's very difficult
32:58.940 --> 33:01.420
the introspection very is difficult to understand
33:01.420 --> 33:02.780
but we would have to fight for it
33:02.780 --> 33:05.860
face up cards and face down cards, we divide the attention
33:05.860 --> 33:08.960
we say cards face down and...?
33:08.960 --> 33:13.580
and now, very slowly, one hands comes to the border of the table 33:13.580 --> 33:18.580 and lifts from behind while the other just tilts
33:19.440 --> 33:27.200
but in the end it gives the sensation of being in harmony
33:27.200 --> 33:31.840
that both hands are moving the same way, there's a visual deception
33:31.840 --> 33:35.760
but you can't do this, because then you can see clearly it's different
33:36.740 --> 33:40.760
with this you can do the Kaps force from the secret agenda
33:40.760 --> 33:45.140
it's the same, you have to work in a sequence of actions
33:45.140 --> 33:47.240
oriented in the same direction so it works
33:47.240 --> 33:50.740
so there must be something that tells the spectator
33:50.740 --> 33:53.820
that you can do it slowly and its done
33:53.820 --> 33:58.820
so I spend the whole afternoon doing this for Lennart Green
34:00.360 --> 34:05.800
he loved the fact that it was slow, you have to learn how to do it slowly
34:05.800 --> 34:12.780
and trust it, if the magic conception and the cover mechanisms
34:12.780 --> 34:17.200
exist and work then we have to trust them
34:17.200 --> 34:20.180
or rethink about it 34:20.180 --> 34:22.800 does the spectator looks where the magician looks? yes or no?
34:22.800 --> 34:27.140
well trust it, use it, apply it
34:27.140 --> 34:30.420
if you move attention in between two points
34:30.420 --> 34:33.060
the spectator doesn't see the small discrepancies
34:33.060 --> 34:36.020
in between one and the other. yes or no?
34:36.020 --> 34:40.380
the transit action is a cover where the spectator goes into the future
34:40.380 --> 34:43.600
so it doesn't see the present and then you do the sleight
34:43.600 --> 34:45.160
- does it works or not? - yes
34:45.160 --> 34:50.160
then apply it, feel comfortable and confident about it
34:50.160 --> 34:57.540
because it's all you've got, and this I call the "yes or yes" cover
34:57.540 --> 35:06.860
there's nothing else, this is always covered and is for everybody
35:06.860 --> 35:11.760
it's not that "almost everybody believes it" that's not acceptable
35:11.760 --> 35:15.580
where is your ethic? your job is to make everyone believe
35:15.580 --> 35:17.300
and at least have the intention
35:17.300 --> 35:20.720
don't defeat yourself before trying it if after that you can't do it
35:20.720 --> 35:25.440
the world is what it is, this has some limitations
35:25.440 --> 35:29.660
and that's what makes magic so peculiar and colorful
35:29.660 --> 35:34.120
but if you give up before starting then we're all screwed
35:34.120 --> 35:36.220
you have to have the intention
35:36.220 --> 35:39.840
that it works for everybody always
35:39.840 --> 35:41.340
I give you an example
35:41.340 --> 35:47.240
like this, I'll deal some poker hands
35:47.240 --> 35:49.500
you can discard any card you like
35:49.500 --> 35:52.000
and from these tell me which one you want me to have
35:52.000 --> 35:56.440
everybody misses it, if you do this, maybe somebody will see it but
35:56.440 --> 36:02.540
but if I tell you "out of these" first the frame and then the background
36:02.540 --> 36:04.760
now everybody misses it
36:05.480 --> 36:08.660
yes or yes, everybody misses the secret turnover 36:08.660 --> 36:11.700 that's the key to the whole thing
36:11.700 --> 36:16.380
you have to try and find the maximum cover
36:16.880 --> 36:20.600
let's see if we can finish the trick
36:22.020 --> 36:27.580
so the spread, very slowly
36:28.200 --> 36:31.540
we put them down and now instead of doing a closed shuffle
36:31.540 --> 36:33.160
because it wasn't closed before
36:33.160 --> 36:36.020
to maintain the the formal unit of the trick
36:36.140 --> 36:38.840
I prefer not to lift it too much
36:39.060 --> 36:47.140
I release the face up packet first so it covers a little on the side
36:47.140 --> 36:53.740
so one packet is higher than the other
36:53.740 --> 37:00.000
covering one another. hey! pay attention
37:00.000 --> 37:05.000
I do this thing to show cards face up and face down
37:05.000 --> 37:08.420
very clearly, now.
37:08.420 --> 37:13.020
if you do this and spread right away
37:13.020 --> 37:13.900
people can tell that this card came from here
37:13.900 --> 37:16.260
they know, they can feel it
37:16.260 --> 37:19.500
because we spend our loves estimating distances, weights, heights
37:19.500 --> 37:20.660
everything
37:20.660 --> 37:27.080
all the time, even when you sit you estimate the height of your butt
37:27.080 --> 37:34.020
a step it's measured so you can bend the knee and not hurt your back
37:34.020 --> 37:39.020
we estimate all the time and do it automatically, we are very good at it
37:39.020 --> 37:45.780
so if you do this, the spectator can tell where it came from the top
37:45.780 --> 37:48.820
careful with those details
37:48.820 --> 37:53.060
so we do the multiple Vegas cut which is totally false
37:53.060 --> 37:59.900
and now you can show some cards face up and some face down and a last cut
37:59.900 --> 38:05.740
and leave it there, so we are putting a veil to what the spectator sees
38:05.740 --> 38:12.220
this is like when you do an Elmsley count and the last card is seen twice
38:12.220 --> 38:19.620
if you put a veil on it that helps to hide that, so all the black cards
38:20.860 --> 38:25.380
so you see the first three and then you break the attention 38:25.380 --> 38:26.360 and now you continue
38:26.360 --> 38:30.380
if you do this its likely that he can see something
38:30.380 --> 38:33.340
but of you break the attention
38:34.080 --> 38:37.620
so do it like this, don't do this and then that
38:37.620 --> 38:40.760
it doesn't work like that
38:40.760 --> 38:45.540
go out showing the back and it's not reveal until later
38:49.260 --> 38:53.960
and then its just a matter of presentation
38:53.960 --> 38:56.020
I like the idea of the cards colluding
38:56.020 --> 38:58.660
together because it has an animistic component
38:58.660 --> 39:01.500
all in one direction except one, well don't say "except one"
39:01.500 --> 39:05.200
because that's descriptive and we have to try and show but not describe
39:06.200 --> 39:16.280
so if all the cards orient themselves face up, and then
39:16.280 --> 39:19.220
very slowly to create what Ascanio called "atisbo"
39:19.220 --> 39:24.020
this is a surprise. the atisbo is a surprise stretched over time
39:24.020 --> 39:29.020
it's slower than the surprise
39:29.720 --> 39:35.420
and that is more delightful I find it fascinating
39:35.420 --> 39:41.460
so then you say all but one because the deck remembers you
39:41.460 --> 39:49.100
and that is a gift from the gods, you have given him a gift
39:49.320 --> 39:56.340
that it's called elegance and that's what we're doing here
39:56.340 --> 39:59.880
and we are giving it to the spectator because it remembers you
39:59.880 --> 40:01.300
what could remember about you?
40:01.300 --> 40:06.500
what was your card? the 8 of hearts, and that gives meaning to the trick
40:06.500 --> 40:16.540
thank you very much thank you very much
40:18.640 --> 40:24.260
this could be longer, another? or we leave it at this? another? yes
40:24.260 --> 40:32.560
well among all of the triumphs
40:32.560 --> 40:40.200
there was another version that is very interesting but over the years,
40:40.200 --> 40:45.300
just like Juan Tamariz said about the royal assembly
40:45.300 --> 40:46.900
he said he started studying Al Koran
40:46.900 --> 40:51.660
then he published it in magia potagia 40:51.660 --> 40:57.540 I've always loved the fact that with this tricks
40:57.540 --> 41:08.260
the masters would not only explain the trick
41:08.260 --> 41:16.460
but they would also explain the story behind it
41:16.460 --> 41:20.680
and how they arrive to that point
41:20.680 --> 41:27.060
and the approaches they took, that was more interesting to me
41:27.060 --> 41:30.120
than just reading recipes for tricks
41:30.120 --> 41:36.780
and Juan says that he studied Al Koran's version for many years
41:36.780 --> 41:38.580
just to go back to the original version
41:38.580 --> 41:46.500
maybe with something extra but mostly the same Al Koran's trick
41:46.960 --> 41:54.740
and with Vernon's triumph it's the same, and also Vernon's cups and balls
41:54.740 --> 41:59.740
there are many good ones and funny ones but
41:59.740 --> 42:04.740
over the years I may have published over 30 versions of the triumph and
42:04.740 --> 42:12.040
and out of those there are 29 that are worthless
42:12.040 --> 42:17.040
there's Vernon's and 29 more, or the 68th version of slow motion aces 42:17.040 --> 42:21.480 because in the end Vernon's triumph is number one
42:21.480 --> 42:28.240
I don't know a triumph that's better than Vernon's, sorry Dani
42:28.240 --> 42:31.660
the open triumph is wonderful
42:31.660 --> 42:34.220
kiko's version where he waves the hand over the deck
42:34.220 --> 42:36.300
those are challenges that are good for magicians
42:36.300 --> 42:42.340
to break limits and see where we can go, even to sometimes discover
42:42.700 --> 42:47.160
that no matter what you do there are some limits that
42:47.160 --> 42:55.320
that are great for byplay and for entertainment but inside you know that
42:55.320 --> 43:01.420
we have to work harder to achieve the purest for of the triumph
43:01.420 --> 43:04.980
and for presenting it in a way that hits people
43:04.980 --> 43:07.660
and that goes where it needs to go
43:07.660 --> 43:14.600
so now I'll show you something else with a color separation
43:14.600 --> 43:19.600
I started with the red and black cards separated
43:19.600 --> 43:24.600
so I had a card chosen, you can take one
43:24.600 --> 43:29.600
put it back, do you remember the card?
43:29.600 --> 43:36.580
and now let's have a red card chosen as well
43:36.580 --> 43:41.580
and put it back
43:41.580 --> 43:46.580
I'll shuffle the cards together like this
43:46.580 --> 43:52.740
face up cards and face down cards, but
43:52.740 --> 43:57.620
all the black cards are face up and the red cards are face down
43:57.620 --> 44:03.380
face up and face down all the way
44:03.380 --> 44:07.820
some face up, some face down, a complete mess
44:07.820 --> 44:12.240
but all the face up cards are black and all the face down cards are red
44:12.240 --> 44:18.080
no matter hat we do some cards will be face up, some will be face down
44:18.080 --> 44:21.020
as you can see, a big mess
44:21.020 --> 44:24.380
however there are two cards lost somewhere on the pack
44:24.380 --> 44:27.140
then if we wait a little, you'll remember this
44:27.140 --> 44:29.380
all of the cards collude to turn themselves in the right direction 44:29.380 --> 44:31.860 but now I have to go like this
44:31.860 --> 44:35.880
and only 2 cards remain face up which are the 7 of diamonds and the
44:35.880 --> 44:45.220
5 of spades, and the curious thing is that even with all the shuffling
44:45.220 --> 44:49.180
the colors are separated
44:49.180 --> 44:52.640
and the black card is between the reds and the red is between the blacks
44:52.640 --> 45:00.440
it's very interesting
45:00.440 --> 45:04.960
of course, the triumph with the spread is closer to Vernon's
45:04.960 --> 45:07.500
is more polished but in the end it meets the criteria
45:07.500 --> 45:09.960
if you do the double back version
45:09.960 --> 45:13.260
and as long as you show the spread
45:13.260 --> 45:15.860
and show the cards and square everything nicely
45:15.860 --> 45:18.300
is pretty much the same line of action
45:18.300 --> 45:24.060
and in the other version it's the same, the inner method is different
45:25.180 --> 45:29.680
but all of this is the same, I do something else instead of this
45:29.680 --> 45:34.060
but this is Vernon's, the fine drawing that Vernon makes
45:34.060 --> 45:36.020
the external drawing is very similar
45:36.020 --> 45:42.160
internally is the method is different but the formal structure of the trick
45:42.160 --> 45:47.160
Vernon nailed it, instead this one is far far away
45:47.160 --> 45:52.160
this is another thing entirely. by the way
45:52.160 --> 45:55.940
I have to check something here, I wrote Zarrow but there's no Zarrow here
45:55.940 --> 45:58.500
you can tell I came well prepared
45:58.500 --> 46:05.320
that's my age, the color separation is an anecdote
46:05.320 --> 46:10.320
it's very fun to do at the table when you want to get out of the convention
46:10.320 --> 46:15.940
because sometimes it's good explore and find new tricks
46:15.940 --> 46:20.940
but always knowing what you're sacrificing
46:20.940 --> 46:23.740
so, you separate the cards by color
46:23.740 --> 46:27.080
or you arrive at this condition from a previous trick
46:27.080 --> 46:30.780
somebody picks a red card, obviously both cards are going to the top
46:30.780 --> 46:33.620
so on the right
46:33.620 --> 46:38.620
I do the elevator shuffle control
46:38.620 --> 46:44.500
an important detail in this shuffle that you can find in card college
46:44.500 --> 46:46.820
and it has to do with the hierarchy of the hands
46:46.820 --> 46:51.660
one hand holds the weight of the object
46:51.760 --> 46:53.620
and the other hand holds the meaning
46:53.620 --> 46:58.420
taking this into account changes the spectators perception of a sleight
46:58.420 --> 47:03.180
in the elevator shuffle the hands that holds the weight is the left
47:03.180 --> 47:08.020
and the hand that holds the meaning, the intent is the right one
47:08.020 --> 47:13.020
that means that you can mark ups and downs look at this
47:13.020 --> 47:17.180
but if I drop down and mark up here
47:17.180 --> 47:22.180
the sensation changes completely, this is one thing
47:22.180 --> 47:29.260
this is more ethereal, and there's another interesting thing
47:32.920 --> 47:36.900
not this one, it's prepared
47:36.900 --> 47:41.900
this one 47:41.900 --> 47:46.900 this one is ok. look at this, a regular shuffle
47:46.900 --> 47:51.900
elevator shuffle, regular shuffle, elevator shuffle, regular shuffle
47:51.900 --> 47:56.900
understand?
48:03.520 --> 48:08.060
the feeling, if the spectator feels the deck is being shuffled
48:08.060 --> 48:11.420
it doesn't matter if it's real or not, his reality
48:11.420 --> 48:14.220
what "is" doesn't matter, it only matters what it looks like
48:14.220 --> 48:17.620
and what should it look like
48:17.620 --> 48:22.060
whatever it is it doesn't matter, in fact if we were congruent in what we do
48:22.060 --> 48:26.320
we would always make false shuffles and we would always force cards
48:26.320 --> 48:29.300
always, we shouldn't care,
48:29.300 --> 48:32.860
and the fact that we care means we have a problem of concept
48:32.860 --> 48:36.060
and understanding of this property
48:36.060 --> 48:41.620
I can force cards all day long, what's the problem? it looks the same
48:41.620 --> 48:43.540
it's a free choice or not?
48:43.540 --> 48:46.620
because when it's a free choice we want a plus of honesty
48:46.620 --> 48:51.620
so we fell guilty or something because that plus
48:51.620 --> 48:56.860
is telling us that something's not right, so, the 7
48:56.860 --> 49:02.960
there are more symptoms we are screwed, we have to take some medication
49:02.960 --> 49:04.940
the card is controlled to the top
49:04.940 --> 49:08.880
always try to make the spectator put the feeling
49:08.880 --> 49:13.880
and over here we end with
49:13.880 --> 49:18.880
a double undercut but with a bonus that's very interesting
49:18.880 --> 49:21.300
it's about the step,
49:21.300 --> 49:24.860
when we control from this position
49:24.860 --> 49:27.840
the fingers are vertical you can see from the front
49:27.840 --> 49:35.380
the best is to make a step which we can recover later and cut
49:35.380 --> 49:41.600
and it also allow you to do this and I still have control over the step
49:41.600 --> 49:47.360
and this is because we bevel the packet and the left fingers
49:47.360 --> 49:54.040
we put it half way in keeping the pinky under the face card of that packet
49:54.040 --> 50:02.360
and now we tap the side with an open hand against the left fingers
50:03.060 --> 50:08.940
so what happens is that the pinky creates a step
50:08.940 --> 50:14.800
this is an interesting exercise, if we can do this
50:16.000 --> 50:20.180
then you're doing it right, and then we apply the "T"
50:20.180 --> 50:22.800
which is also in Giobbi's book
50:22.800 --> 50:30.480
which is the side opposite to the step
50:30.480 --> 50:35.480
and the vertical pressure which doesn't affect
50:35.480 --> 50:37.460
it doesn't matter where the step is,
50:37.460 --> 50:43.020
here it does matter, it has to be in the opposite side
50:43.020 --> 50:49.940
so I can do this. I lost your card, is not this one right? take one
50:49.940 --> 50:56.040
I won't say it was a force but...
50:56.040 --> 50:59.320
and there you have it and can do anything you want
50:59.420 --> 51:03.900
so I really think that you are getting rid of things
51:03.900 --> 51:07.760
and there are many more around, I'll give you another example
51:07.760 --> 51:12.300
the pinky break, the pressure with the thumb here
51:12.300 --> 51:16.340
the moment you relax because this pressure needs a attention
51:16.340 --> 51:21.100
when you relax it's over, you're screwed
51:21.100 --> 51:25.180
I do the "presilla" I don't know what else to call it so that's the name
51:25.180 --> 51:27.620
curl this finger around the deck because this doesn't need any attention
51:27.620 --> 51:33.360
it won't move ever
51:33.360 --> 51:36.420
it reminds me of the locks on some of the public bathrooms
51:36.420 --> 51:40.480
which turn like that, maybe you've seen them
51:40.480 --> 51:46.580
but thi is it, it's uglier but it won't open ever
51:46.580 --> 51:50.900
if you cover this side you can stay like this until tomorrow
51:50.900 --> 51:52.340
and you can't see the break, but here you do
51:52.340 --> 51:57.340
because the thumb relaxes when you forget about it
51:57.340 --> 52:00.380
those are details that we need to consider 52:00.380 --> 52:05.380 we spread a little to cover the top one, here it doesn't matter
52:05.380 --> 52:11.200
and now we do the Vernon shuffle, drop one face up card
52:11.200 --> 52:16.680
finish the shuffle with a face down card
52:16.680 --> 52:21.820
so when lifting the packets transfer the bottom card
52:21.820 --> 52:24.440
from one packet to the other
52:24.440 --> 52:29.660
I don't know if you can see, it's just tilting the deck
52:29.660 --> 52:34.660
and transfer, and down again
52:35.640 --> 52:39.100
so we square
52:39.820 --> 52:43.320
and the card is transferred without the spectator noticing
52:43.320 --> 52:49.440
so now we can spread, or you can spread first and transfer later
52:49.440 --> 52:53.120
here we keep going with the Vernon shuffle
52:53.120 --> 52:58.640
push everything and now every card is in the opposite packet
52:58.640 --> 53:00.860
the only thing left is to strip out
53:00.860 --> 53:05.700
catch a break and show faces and backs
53:05.700 --> 53:10.660
this I don't know if it's from Marlo or not
53:10.660 --> 53:15.220
or from one of his students
53:18.600 --> 53:25.640
I can't remember, however this is very important, is very easy
53:25.640 --> 53:29.660
and now you go back to the start
53:29.660 --> 53:34.300
but here there are cards that need to go to the center of each packet
53:34.300 --> 53:40.220
now do this but the pick it up backwards because here is the red card
53:40.220 --> 53:42.460
so instead of coming here we go there
53:42.460 --> 53:45.220
so one of the cards is already in place in the center
53:45.220 --> 53:53.720
and for this other cut to a face up card, cut at the other card
53:53.720 --> 53:59.820
and done, very economic, because the other option was
53:59.820 --> 54:02.940
the typical reverse, zarrow shuffle
54:02.940 --> 54:06.940
and multiple cuts, instead this is infinitely more economic
54:06.940 --> 54:11.820
the first effect, both selected cards are reversed
54:11.820 --> 54:14.500
very interesting, but the colors are separated
54:14.500 --> 54:19.760
but in top of that, as an encore, because it's not really an effect
54:19.760 --> 54:25.000
the red an black change packets
54:31.920 --> 54:38.420
I' love to continue with a classic, a trick that came out years ago
54:38.420 --> 54:42.380
very revolutionary on the line of Roy Walton's oil and queens
54:42.380 --> 54:45.280
and then it came the water and water, do you now it?
54:45.280 --> 54:50.560
water and water in which at the end
54:50.560 --> 54:55.940
I shouldn't say that, it's better if I show instead of explaining it
54:55.940 --> 55:02.180
I'm a genius, so let's use some cards
55:02.180 --> 55:07.820
specially relevant because of the color
55:07.820 --> 55:11.360
very colorful
55:11.360 --> 55:21.500
like these ones, a lot of color, I thinks this is ok
55:21.500 --> 55:26.700
so this is very easy to follow, pay attention
55:27.440 --> 55:32.260
4 cards here and 4 cards over here
55:33.140 --> 55:35.100
I can't lie
55:37.300 --> 55:40.880
so, here we have some red cards
55:40.880 --> 55:44.380
and here we have some black cards 55:44.380 --> 55:46.940 so in case you don't know the oil and water mix
55:46.940 --> 55:48.660
they mix and they?
55:48.820 --> 55:50.460
they separate
55:50.640 --> 55:54.420
but people don't believe this but it does
55:54.620 --> 56:00.300
have you ever had a dream within a dream?
56:00.300 --> 56:05.460
I have, I've dreamed about dreaming and then I wake up
56:05.460 --> 56:10.460
only to realize I'm still asleep and I was in a dream within a dream
56:10.460 --> 56:16.900
have you ever had that? it's very strong because you wake up
56:16.900 --> 56:21.540
and then you realize you're still asleep, it's a rush
56:21.660 --> 56:26.240
I ask that because what you're about to see you won't understand now
56:26.240 --> 56:30.180
it's good that you remember that this is not a dream within a dream
56:30.180 --> 56:32.920
but an illusion within an illusion
56:33.340 --> 56:35.500
now it's impossible to understand why
56:35.500 --> 56:37.740
because until you wake up from the first dream 56:37.740 --> 56:38.960 you won't know you're inside another one
56:38.960 --> 56:40.860
so until you wake up from the first illusion
56:40.860 --> 56:45.320
you won't see the second. so let yourself go
56:45.320 --> 56:50.880
I'm just letting you know that you are in an illusion within an illusion
56:50.880 --> 56:58.240
so if that's clear, then let's alternate both colors
56:58.820 --> 57:10.260
I'll show it very clearly so you can see how they alternate all the way
57:11.780 --> 57:19.220
now e deal for here and four there
57:19.400 --> 57:23.300
and now all we have to do it wait and you won't believe it
57:23.700 --> 57:29.780
red red red and red, and black black black and black
57:34.020 --> 57:38.680
one by one all alternating, it looks like it but no
57:38.680 --> 57:45.900
now, you've been watching very carefully
57:46.460 --> 57:54.880
let's do it a second time, now you know that you're looking
57:56.600 --> 57:59.880
that changes the experience a little
58:01.080 --> 58:03.100
now you know that you're looking
58:03.100 --> 58:06.720
before you were only looking, now you know
58:07.420 --> 58:09.080
yes?
58:11.720 --> 58:16.720
same as before
58:19.000 --> 58:24.360
some here and some there
58:25.400 --> 58:29.720
now this is just to let people know that the slaughter is coming
58:29.720 --> 58:39.040
look, just like that, all the reds are here and all the blacks are there
58:43.580 --> 58:52.160
I remind you that you are in an illusion within an illusion. one more
58:53.540 --> 59:00.900
look at how they alternate all the way
59:03.720 --> 59:12.020
1, 2, 3 and 4 and here, does this sound familiar?
59:12.920 --> 59:20.180
now these cards are all red
59:20.300 --> 59:27.060
you know what? I feel restless, you know why?
59:27.060 --> 59:31.300
because what is the second illusion? well in reality
59:31.300 --> 59:37.740
the cards could never separate by color because there are no black cards
59:37.740 --> 59:40.940
so it looks like it
59:40.940 --> 59:47.980
when you wake up from the first illusion the you fin out that in the end 59:47.980 --> 59:50.440 you find out that in the end
59:50.440 --> 59:54.020
even though all the cards are red
59:54.020 --> 59:57.260
for moment it looked like there was something else
59:57.260 --> 01:00:01.360
and that's it
01:00:05.040 --> 01:00:08.100
I've tried this patter for a couple of times and it's hard
01:00:08.100 --> 01:00:10.880
hard to understand for some people
01:00:13.180 --> 01:00:17.900
the metaphor with the dream within another dream helps a lot
01:00:17.900 --> 01:00:22.900
but when I'm working on waking them up from the first illusion
01:00:23.520 --> 01:00:25.740
so in the third phase I
01:00:25.740 --> 01:00:31.840
show all the red cards and then I would have to ask, and here?
01:00:31.840 --> 01:00:34.700
and when they say black you reply with no, that's the first illusion
01:00:34.700 --> 01:00:37.340
the other illusion is that there are no black cards
01:00:37.340 --> 01:00:38.780
so they couldn't separate by color
01:00:40.700 --> 01:00:44.380
then ending has the limitation that you can't who them or give them away
01:00:44.380 --> 01:00:48.260
because there are three black cards there 01:00:48.260 --> 01:00:51.860 but so far it's a beautiful trick.
01:00:51.860 --> 01:00:56.920
I've studied it through Ascanio's oil and water routine
01:00:56.920 --> 01:01:03.040
because this trick was awful, at some point the transferred a card here
01:01:03.040 --> 01:01:09.280
in the middle of the trick to make the cards fit the sleight
01:01:09.280 --> 01:01:13.760
but it turns out that it's way simpler than what I thought
01:01:13.760 --> 01:01:19.240
and after going through Ascanio's routine it's very clean now
01:01:19.240 --> 01:01:24.100
and I used to do it all the time
01:01:24.100 --> 01:01:27.520
I didn't have the patter about the illusion within the illusion
01:01:27.520 --> 01:01:31.380
I think that belongs to a more private or intimate audience
01:01:31.380 --> 01:01:32.520
who can appreciate and understand it
01:01:33.920 --> 01:01:38.520
but it's still a difficult exercise
01:01:38.520 --> 01:01:44.420
to make it clean, because you have two things battling for attention
01:01:44.420 --> 01:01:49.020
"understanding what's happening" and "understanding the theme"
01:01:49.780 --> 01:01:53.180
and when you have that battle they both lose. 01:01:53.180 --> 01:01:58.260 I remember "the dreamed dreamer" with "el incauto bribon"
01:01:58.260 --> 01:01:59.460
who dream's who?
01:01:59.460 --> 01:02:02.100
is the joker dreaming of the cards
01:02:02.100 --> 01:02:03.900
or the cards are dreaming of the joker
01:02:03.900 --> 01:02:06.280
it's too confusing
01:02:06.280 --> 01:02:09.540
but if both dimensions of the trick demand
01:02:09.540 --> 01:02:15.680
the same intensity something will go wrong
01:02:15.680 --> 01:02:18.420
it's like reading and listening to the radio
01:02:18.420 --> 01:02:21.340
something will go wrong if not both
01:02:21.980 --> 01:02:24.500
that's the balance you have to achieve, and this has it.
01:02:24.500 --> 01:02:27.920
well, as an improvised construction I find this very interesting
01:02:27.920 --> 01:02:32.680
little details. one is that I'll take out 3 black cards ad 6 red cards
01:02:32.680 --> 01:02:40.160
I want an 8 a 9 and a 10 of any black suit, that way I don't have to count
01:02:40.160 --> 01:02:44.900
just by seeing a black 8, 9 and 10 I know I'm good
01:02:44.960 --> 01:02:48.540
now I'll remove all red 8 through 10
01:02:49.620 --> 01:02:52.700
so I say I'm taking out some colorful cards
01:02:52.700 --> 01:02:57.060
so there's contrast. I take out the first 10
01:02:57.060 --> 01:03:05.060
there's an 8 here but it doesn't matter, the suits don't matter
01:03:05.060 --> 01:03:07.300
this one I don't need
01:03:07.300 --> 01:03:12.340
I take this 8 and now for talking too much I screwed up
01:03:12.340 --> 01:03:17.920
when you shut up it works, the moment you start talking you're screwed
01:03:17.920 --> 01:03:21.380
so there are 6 red cards and 3 black cards
01:03:21.380 --> 01:03:24.540
but the way you think about it's very important, like those
01:03:24.540 --> 01:03:33.340
3, 2, 2, 3 count where you can just talk and talk an there are 20 cards
01:03:33.340 --> 01:03:38.340
because they work differently, this is visual
01:03:38.340 --> 01:03:43.340
and you know if you go 3, 2, 2, 3 you know there are 10
01:03:43.340 --> 01:03:49.700
if you go 3, 2, 3, 2 then you lose yourself, it's a brilliant concept
01:03:49.700 --> 01:03:54.220
that's how the brain works so this is a very physiological technique 01:03:54.220 --> 01:03:57.980 because it defines how our brain works
01:03:57.980 --> 01:04:04.920
different ways of accessing information or to store it or whatever
01:04:04.920 --> 01:04:09.320
so we have to work two different ways so that
01:04:09.320 --> 01:04:11.100
they don't battle each other
01:04:11.100 --> 01:04:13.900
why can't you read and listen to the radio at the same time?
01:04:13.900 --> 01:04:20.280
because they're using the same road so they interfere with each other
01:04:20.280 --> 01:04:25.660
here's the same, so as long as it's visual it doesn't matter
01:04:25.660 --> 01:04:27.460
you can say anything
01:04:27.460 --> 01:04:34.460
you don't have to have a rhythmic patter which is also used
01:04:34.460 --> 01:04:38.220
so when you deal cards you know when you're done
01:04:38.220 --> 01:04:40.540
"I'll deal cards and you tell me stop"
01:04:40.540 --> 01:04:47.000
I know I have 6 because that's the time it takes to deal 6 cards
01:04:47.000 --> 01:04:50.740
"so what's you're name? oh, beautiful name"
01:04:50.740 --> 01:04:54.940
"can you help me?" and now I have 17 cards here 01:04:54.940 --> 01:05:02.980 I'm not going to count them but you get the point
01:05:02.980 --> 01:05:05.540
so all of this technique is very interesting
01:05:05.540 --> 01:05:11.220
because you have to take some cards out and not others
01:05:11.360 --> 01:05:18.020
remember the trick with the gaff card that's 3, 3, 3 and a different card
01:05:18.020 --> 01:05:21.660
if you have to take out three sets of three, how do you do it?
01:05:21.660 --> 01:05:26.360
how do you know you only took out 3 Q's or 3 J's or 3 9's and not 4
01:05:26.360 --> 01:05:30.260
it's impossible because they come out in random order
01:05:30.260 --> 01:05:33.040
so don't take out spades and that's it
01:05:33.640 --> 01:05:38.700
so forget the spades, I'll take out Q's J's and K's
01:05:38.700 --> 01:05:44.380
I can't make a mistake because I see spades I just ignore it
01:05:44.380 --> 01:05:49.380
and that's it, and I know exactly what I have
01:05:51.420 --> 01:05:53.020
just by forgetting about the spades
01:05:53.020 --> 01:05:54.360
the brain doesn't have to deal with anything else
01:05:54.360 --> 01:05:57.780
so you don't have to count
01:05:57.780 --> 01:06:04.420
because otherwise you can tell the thinking, it takes longer
01:06:05.240 --> 01:06:10.660
so play around with that, so this is shuffled
01:06:10.660 --> 01:06:14.660
now you have to find a 4, 2, 2, 1 sequence which is very easy
01:06:14.660 --> 01:06:19.660
so by almost showing the cards
01:06:19.660 --> 01:06:26.080
you can say "well I think these are good" and there it is
01:06:26.140 --> 01:06:36.000
just by looking if you have the right cards you already have the setup
01:06:36.000 --> 01:06:43.260
and from now on it's all done, there's not much more to explain
01:06:43.260 --> 01:06:51.660
but the formal unit it's very interesting and I think i very relevant
01:06:51.660 --> 01:06:55.940
this trick has serve me to apply some of Ascanio's concepts
01:06:55.940 --> 01:07:06.300
and not all magic concepts have that practical approach
01:07:06.300 --> 01:07:08.340
in Nelm's book there are two quotes
01:07:08.340 --> 01:07:11.820
that are very relevant in that matter
01:07:11.820 --> 01:07:13.880
in the intro the first chapter it says
01:07:13.880 --> 01:07:19.580
"drama and conjuring are both arts of illusion"
01:07:19.580 --> 01:07:23.400
and the second in the first chapter says
01:07:23.400 --> 01:07:27.640
"the art of illusion is at least 95% applied psychology"
01:07:27.640 --> 01:07:30.740
let's not concern ourselves with stuff we can't prove
01:07:30.740 --> 01:07:36.000
if I can't prove it I don't care
01:07:36.100 --> 01:07:37.820
I'm interested in practicality
01:07:37.820 --> 01:07:43.280
and Ascanio y very practical and can be applied directly
01:07:43.280 --> 01:07:51.140
always, if not then is just philosophy, which is also fine
01:07:51.140 --> 01:07:55.940
in some cases like Luis Garcia
01:07:55.940 --> 01:07:58.320
he writes magic philosophy which is also convenient
01:07:58.320 --> 01:08:03.760
when he says that any trick that can be explained it's not magic
01:08:03.760 --> 01:08:07.220
that's hes argument against mentalism
01:08:07.220 --> 01:08:11.660
the more credible is mind reading the less magical it becomes
01:08:11.660 --> 01:08:12.440
because it has an explanation
01:08:12.440 --> 01:08:16.340
it's an interesting theory and it's good to discuss these things 01:08:16.340 --> 01:08:19.140 but you must differentiate between philosophy and practical theory
01:08:19.140 --> 01:08:22.860
and Ascanio was an advocate of a science of magic
01:08:22.860 --> 01:08:27.380
where we could base ourselves
01:08:27.380 --> 01:08:29.940
why? because when we stop being laymen
01:08:29.940 --> 01:08:35.900
we lose our sight and then transfer our own conception of magic
01:08:35.900 --> 01:08:39.860
to the spectator who's watching for the first time
01:08:39.920 --> 01:08:41.980
something you've seen for years
01:08:42.200 --> 01:08:47.180
you're deforming it and then giving it to the spectator
01:08:47.180 --> 01:08:52.460
assuming things that the spectator it's not even thinking
01:08:52.460 --> 01:08:57.460
so we have to go to the laymen point of view but we can't do it honestly
01:08:57.460 --> 01:09:02.460
we have to do it based in knowledge we can trust
01:09:02.460 --> 01:09:06.260
that's the key an Ascanio is great for that
01:09:06.260 --> 01:09:09.780
so the susceptibility game plays out here too
01:09:09.780 --> 01:09:12.940
so you can do it slowly, clearly an cleanly 01:09:12.940 --> 01:09:16.700 a dream within a dream as a possible patter
01:09:16.700 --> 01:09:22.680
so when we find this position and then we can go for the formal unit
01:09:22.680 --> 01:09:28.180
which is a concept I use since some time ago and I find it fascinating
01:09:28.180 --> 01:09:36.220
because it respects the view of the spectator in a great way
01:09:36.220 --> 01:09:40.560
so the first time the spectator sees the trick
01:09:40.560 --> 01:09:46.360
he sees the card come to the top, second time
01:09:46.360 --> 01:09:49.820
it's identical, in some ambitious card routines
01:09:49.820 --> 01:09:55.860
the card comes out of here, there, my forehead, it changes, it flies
01:09:55.860 --> 01:09:58.300
so the spectator get stressed out
01:09:58.300 --> 01:09:59.500
because every time he has to start all over
01:09:59.500 --> 01:10:00.860
and can't hold on to the previous one
01:10:00.860 --> 01:10:05.760
that's not enriching, did you fool them? yes, is it artistic? no
01:10:05.760 --> 01:10:08.100
that's on the level of fooling
01:10:08.100 --> 01:10:14.520
and it's difficult because the magician always wins
01:10:15.080 --> 01:10:20.680
the magician is cheating
01:10:20.900 --> 01:10:23.900
so don't pat yourself on the back because fooling is very easy
01:10:23.900 --> 01:10:26.900
and it's easier than what we're trying to do here
01:10:26.900 --> 01:10:29.220
so it's like "hello good night, I'm the magician
01:10:29.220 --> 01:10:32.880
and I'm here to fool you all night long"
01:10:32.880 --> 01:10:41.420
ready? let's go....
01:10:41.420 --> 01:10:45.180
good by, you get your money and you're done and you forget of Ascanio
01:10:45.180 --> 01:10:46.420
and concepts and everything
01:10:46.420 --> 01:10:54.700
do it like that and make some money and don't care about these things
01:10:54.700 --> 01:10:58.140
but if you want or need something else
01:10:58.140 --> 01:11:01.320
then you need to get past the level of fooling
01:11:01.320 --> 01:11:07.580
and it has to be done with that concept from Ascanio
01:11:07.580 --> 01:11:12.000
which I believe it's the most solid
01:11:12.000 --> 01:11:15.420
you can trust it and tested too
01:11:15.420 --> 01:11:19.900
because he did what he wrote and wrote what he did
01:11:19.900 --> 01:11:22.980
and the great thinkers where like that
01:11:22.980 --> 01:11:26.640
their lives framed their thinking and vice versa
01:11:26.640 --> 01:11:31.640
it's not like "do as I say but not as I do"
01:11:31.640 --> 01:11:35.580
the ethical basis one self is saying
01:11:35.580 --> 01:11:45.100
"my life and my actions part from my ideas"
01:11:45.100 --> 01:11:49.620
and I don't know any other thinker of the same category
01:11:49.620 --> 01:11:51.400
who does that with such honesty
01:11:51.400 --> 01:11:59.060
so it's a good guarantee if we want this to be art once and for all
01:11:59.420 --> 01:12:03.500
so at this point comes the formal unit
01:12:03.500 --> 01:12:05.420
first they see. then they know they are seeing
01:12:05.420 --> 01:12:07.400
because they pull from the previous experience
01:12:07.580 --> 01:12:14.000
now they see the process, they recognize it, they see it coming
01:12:14.000 --> 01:12:16.180
here it comes here it comes, and there it is
01:12:16.180 --> 01:12:23.500
so they see it coming and that's very strong
01:12:23.500 --> 01:12:29.780
and the third is to vary the unit which is the perfect balance when
01:12:29.780 --> 01:12:36.040
the third time is another chance, can't you see them separating?
01:12:36.040 --> 01:12:38.420
you haven't even seen how the blacks disappeared
01:12:41.040 --> 01:12:46.040
so the third time it's like Hitchcock Aces from Darwin Ortiz
01:12:46.040 --> 01:12:52.340
you know the last Ace is going to travel, the third Ace
01:12:52.340 --> 01:12:56.520
so everybody's looking at the ace
01:12:56.520 --> 01:12:59.700
and not only you don't this ace traveling here
01:12:59.700 --> 01:13:01.520
but you don't see the three aces going there
01:13:01.520 --> 01:13:06.520
you miss one and then you miss three at once
01:13:06.520 --> 01:13:13.520
it's great. something similar happens here
01:13:13.520 --> 01:13:19.640
"they separate again but the funny thing is that there are no black cards"
01:13:19.640 --> 01:13:21.580
now I don't understand anything
01:13:21.580 --> 01:13:25.860
it's fascinating because it exceeds the expected ending 01:13:25.860 --> 01:13:30.260 we have to try not to disappoint
01:13:30.260 --> 01:13:33.600
between your expectations and what really happens
01:13:33.600 --> 01:13:38.600
the basic sequence when you're separating the cards
01:13:38.600 --> 01:13:44.820
thanks to this sequence you can deal 4 red cards and here we do
01:13:44.820 --> 01:13:53.260
a double push off of the third card and now we have to
01:13:53.260 --> 01:13:59.220
play with the balance to cover the handling
01:13:59.220 --> 01:14:03.100
where this cards move in this direction and these move in this direction
01:14:03.100 --> 01:14:08.100
reds here with an unsquared elmsley
01:14:08.100 --> 01:14:13.100
and these go that way
01:14:14.600 --> 01:14:18.340
so a group in this direction and the other group
01:14:18.340 --> 01:14:21.480
in the opposite direction and that helps to cover
01:14:21.480 --> 01:14:27.900
so it's not that bold, then you talk a bit and take the heat of the cards
01:14:27.900 --> 01:14:31.340
so when the go back to them they know what they're seeing
01:14:31.340 --> 01:14:35.960
some reds and some blacks 01:14:36.580 --> 01:14:39.100 by the way has someone dreamed about dreaming?
01:14:39.100 --> 01:14:43.820
so then you move the focus off the table
01:14:43.820 --> 01:14:54.340
so then you explain the illusion within the illusion
01:14:54.340 --> 01:14:59.120
when you come back down this is black
01:14:59.960 --> 01:15:06.080
there's no question about it, no doubt, it doesn't require confirmation
01:15:06.080 --> 01:15:11.300
the packets are cold, so now you can work
01:15:11.300 --> 01:15:15.380
and now you use a kind of misdirection
01:15:15.380 --> 01:15:18.200
where you talk about what you do and not about what happens
01:15:18.200 --> 01:15:23.540
so, always alternating, here I do a pinky count
01:15:23.540 --> 01:15:29.660
infinitely better than the buckle which is horrendous
01:15:29.660 --> 01:15:35.280
I thank mister Buckley for all he did but he can rest in peace
01:15:35.280 --> 01:15:42.740
there's better things to do than bending cards and create tension
01:15:42.740 --> 01:15:46.340
so I think the pinky count is far superior than the buckle
01:15:47.520 --> 01:15:53.520
for the pull down to work you need to bevel the cards towards the thumb 01:15:53.520 --> 01:15:57.500 hold it with these fingers and then pull down
01:15:57.500 --> 01:16:00.320
the bevel makes each card longer than the previous one
01:16:00.320 --> 01:16:02.500
so inevitably you'll pull the bottom card
01:16:02.500 --> 01:16:05.980
you don't have to look for it, just pull it
01:16:05.980 --> 01:16:12.220
so it can't fail, if you can't see it grab more cards and try again
01:16:12.220 --> 01:16:18.560
hold the deck in dealing grip, bevel the cards
01:16:18.560 --> 01:16:25.880
now you can see how all the cards are beveled towards the thumb
01:16:25.880 --> 01:16:30.880
index an thumb hold the deck, a classic grip in card magic
01:16:30.880 --> 01:16:35.480
so when you pull down with your pinky you'll get the card
01:16:40.320 --> 01:16:45.380
so when you practice with the deck your conscious of the bevel
01:16:45.380 --> 01:16:52.380
if you pull and don't get a card then your not beveling the cards right
01:16:52.380 --> 01:16:55.540
there's no margin for error
01:16:55.540 --> 01:16:58.880
if you don't get the card you're not doing it right
01:16:58.880 --> 01:17:03.260
so with less cards the bevel is more difficult to see
01:17:03.340 --> 01:17:05.020
but it doesn't matter, if I do this
01:17:05.160 --> 01:17:07.540
they're beveled no matter if I see it or not
01:17:07.580 --> 01:17:09.620
if I don't see it it doesn't mean is not there
01:17:09.620 --> 01:17:15.060
so I can do it in real time
01:17:16.000 --> 01:17:22.040
I spread the cards, I fan the cards and hold it with three fingers
01:17:22.040 --> 01:17:26.700
the third one is a double, and now I push the cards in from below
01:17:26.700 --> 01:17:30.340
and make sure you can see this step because the spectator needs it
01:17:30.340 --> 01:17:36.500
they have to see the step
01:17:36.500 --> 01:17:39.820
push them in from below not from the top
01:17:39.820 --> 01:17:41.500
because then you are covering the cards
01:17:41.500 --> 01:17:47.600
a detail from Ascanio, square at the fingertips and riffle the sides
01:17:47.600 --> 01:17:52.980
like you were saying red black red black
01:17:52.980 --> 01:17:58.920
now you deal 4 and here the last one is the double
01:17:58.920 --> 01:18:04.820
there's something that you'll see when you study this trick which is 01:18:04.820 --> 01:18:09.820 at the beginning during the exposition
01:18:09.820 --> 01:18:17.120
there's a double deal, then in the first two phases
01:18:17.120 --> 01:18:25.380
there's a double push off and double at the bottom
01:18:26.320 --> 01:18:33.120
I'm wrong, the thing is that the techniques change sides
01:18:33.120 --> 01:18:40.460
so now they're separated we do the magic move
01:18:40.460 --> 01:18:43.660
help the spectator,
01:18:43.660 --> 01:18:45.260
if you do the gesture don't mention it
01:18:45.260 --> 01:18:46.720
and if you say it don't do it
01:18:46.720 --> 01:18:49.260
what is seen is not said, what is said is not seen if not
01:18:49.260 --> 01:18:51.720
we have to say it over and over
01:18:51.720 --> 01:18:55.780
so if we wait a little, even if you don't believe it
01:18:55.780 --> 01:19:04.440
unquared elsmley but we want it to look similar, and here
01:19:05.720 --> 01:19:11.520
and then you can do this from Joaquin Mata
01:19:11.520 --> 01:19:16.740
and I loved it because it's brilliant
01:19:16.740 --> 01:19:25.940
it's beautiful. pause, they don't know what's coming 01:19:26.080 --> 01:19:31.040 don't act like it's a fact, this must be a climax
01:19:31.040 --> 01:19:35.740
it should, I don't want to sound grumpy
01:19:35.740 --> 01:19:39.740
but if I do this and these are supposed to be black
01:19:39.740 --> 01:19:44.480
and it's clear that these are red take a look at this
01:19:45.980 --> 01:19:49.860
these red cards are alternating for sure, with what?
01:19:49.860 --> 01:19:55.500
the spectator might not be sure but these are alternating
01:19:55.500 --> 01:20:02.760
so they should be alternating, so explain this.
01:20:03.820 --> 01:20:09.100
it has to be a climax, so you have to let it be
01:20:09.100 --> 01:20:13.660
you are thinking about the killer ending so
01:20:13.660 --> 01:20:17.060
so you miss selling this part, so focus on what you're doing
01:20:17.060 --> 01:20:22.720
magic is an art of the present, of now, you have to seize the moment
01:20:22.720 --> 01:20:28.300
let them flip out and now look at the joy when you say
01:20:29.380 --> 01:20:31.940
-you want to see it again? -of course! 01:20:31.940 --> 01:20:38.100 so pause, mark it and sell the climax
01:20:38.100 --> 01:20:41.860
and the best hing of all is that it can be repeated
01:20:41.860 --> 01:20:44.480
and now they have to get into it
01:20:44.480 --> 01:20:52.560
if they relax and applaud they get away from the trick
01:20:52.560 --> 01:20:57.880
they have to pull from the recent experience
01:20:57.880 --> 01:21:05.480
that's why it's important the everything looks familiar
01:21:05.480 --> 01:21:12.980
and they can see the ending coming
01:21:12.980 --> 01:21:19.600
it's amazing so in what moment are going from ordinary to magic?
01:21:19.600 --> 01:21:25.080
from a normal experience to magic, once again. always the same
01:21:25.080 --> 01:21:30.740
everything repeats, the steps
01:21:30.740 --> 01:21:38.200
the stops, the looks, if in the previous phase you marked this position
01:21:38.200 --> 01:21:45.540
do it now again, whatever it is you do
01:21:45.540 --> 01:21:50.540
mark it and do it with the same intensity
01:21:50.540 --> 01:21:56.840
keep asking, does it look familiar?
01:21:56.840 --> 01:22:05.860
so when you arrive at the end and they are expecting it 01:22:06.540 --> 01:22:15.260 some thing have that dramatic edge like when you flip this over
01:22:16.720 --> 01:22:20.260
and you say "yes, they're all red"
01:22:20.260 --> 01:22:22.900
but were does it come that pause from? it doesn't come from the trick
01:22:22.900 --> 01:22:29.460
only because you know what the spectator is thinking
01:22:29.460 --> 01:22:31.560
if you don't know that then you can't do this
01:22:31.560 --> 01:22:36.560
but if you know then this things happen
01:22:36.560 --> 01:22:42.020
those little moments when you're milking the dramatic moment
01:22:42.020 --> 01:22:47.620
so instead of 1, 2, 3 I go 1, 2, 3... and 4, just to play around
01:22:51.720 --> 01:22:57.600
so yes, all of the cards are red
01:22:57.600 --> 01:23:01.540
this is the strong part and then
01:23:01.540 --> 01:23:03.140
you're done but that's not so important, this is what matter
01:23:03.780 --> 01:23:09.480
now all of that goes into the illusion
01:23:09.480 --> 01:23:16.480
and we go to the last phase, with the Elmsley
01:23:16.480 --> 01:23:22.760
in dealing grip just put the last one on the bottom 01:23:22.760 --> 01:23:30.020 nobody will see it because the formal unit is strong enough to absorb it
01:23:30.020 --> 01:23:35.020
so with that we break the loop and we go into another
01:23:35.020 --> 01:23:42.480
so in this new loop the double is the last card
01:23:43.160 --> 01:23:50.720
the reds are still red, place them from the bottom up, show the step
01:23:51.340 --> 01:23:55.180
so here we have an Elmsley for one of the blacks
01:23:55.180 --> 01:23:56.940
and here for the other to cards
01:23:56.940 --> 01:24:03.340
I find it remarkable, and the same
01:24:03.340 --> 01:24:06.500
now everything looks the same
01:24:06.500 --> 01:24:09.780
but this time we do the same push off as the first time
01:24:09.780 --> 01:24:14.060
so both techniques change places
01:24:14.060 --> 01:24:18.000
the first and the last stay the same and then
01:24:18.000 --> 01:24:26.480
pause, and now you do this
01:24:27.520 --> 01:24:29.100
these are already red to them
01:24:29.100 --> 01:24:34.020
if you move a card before the effect is very bad
01:24:34.020 --> 01:24:37.280
that's the worst conception of all 01:24:37.280 --> 01:24:39.780 show them first and then do whatever you want
01:24:39.780 --> 01:24:41.980
but to move them first it's bad
01:24:41.980 --> 01:24:47.180
here we can do it because they've seen it twice so it's enough to do this
01:24:47.180 --> 01:24:50.580
now you can do anything because they won't see
01:24:50.580 --> 01:24:56.960
so now here are all the red cards
01:24:56.960 --> 01:25:07.500
you can show them like this, more elegant like Ascanio did
01:25:07.500 --> 01:25:12.880
all red cards, pause and here are all of the blacks
01:25:12.920 --> 01:25:15.040
the illusion within the illusion
01:25:15.120 --> 01:25:18.520
is that really there were never any black cards
01:25:18.860 --> 01:25:23.980
now you come here and while they applause is still going
01:25:23.980 --> 01:25:26.940
you go to this position to do an extended Elmsley count
01:25:26.940 --> 01:25:30.040
so I'm going to peel 4 and then 2 to get all the blacks together
01:25:30.040 --> 01:25:37.280
watch, I peel 4, then they go back on top, and now I peel 2 more
01:25:37.280 --> 01:25:39.900
and now I do an extended Elmsley count 01:25:39.900 --> 01:25:42.540 because I can't do the Hamman count
01:25:42.540 --> 01:25:45.540
it's very good but I can't do it
01:25:45.540 --> 01:25:53.140
there's people who do miracles with it but I can't do it
01:25:53.140 --> 01:26:00.380
so I do this Elmsley count but with more cards so I peel 1, 2, 3
01:26:00.380 --> 01:26:04.820
and I like it because you can see everything
01:26:04.820 --> 01:26:11.420
let''s do it right, the switch is very soft
01:26:11.420 --> 01:26:17.480
it can be done slowly, it's very clear, there are no jumps or
01:26:17.480 --> 01:26:21.860
quick movements or anything, and from here
01:26:21.860 --> 01:26:24.420
these cards need to go somewhere
01:26:24.420 --> 01:26:29.000
you can't do this, you, throw them nonchalantly in the table
01:26:29.000 --> 01:26:32.780
shuffle while they applaud, you work after you're done and then you say
01:26:32.780 --> 01:26:34.900
"that's the good thing about the red cards
01:26:34.900 --> 01:26:37.420
you can get an illusion within another illusion"
01:26:37.580 --> 01:26:41.500
and that's it 01:26:45.740 --> 01:26:54.200 well, here you can see all of my notes
01:26:55.180 --> 01:27:01.580
I would like to finish with a trick that I love very much
01:27:01.580 --> 01:27:07.840
I used to do this
01:27:11.580 --> 01:27:17.940
wait this is the wrong deck
01:27:17.940 --> 01:27:23.380
not this one either, we'll find it don't worry
01:27:25.140 --> 01:27:29.360
not this one, well it doesn't matter
01:27:29.360 --> 01:27:34.980
I don't know what I did
01:27:35.960 --> 01:27:43.920
this goes here, and this here, this trick I used to use as an opener
01:27:43.920 --> 01:27:49.180
it has some contradictions because
01:27:49.180 --> 01:27:52.020
I think is good to start a magic session
01:27:52.020 --> 01:27:59.840
it's surprising, it leaves a good impression of the magician
01:27:59.840 --> 01:28:02.660
it fails apparently, the thing with apparent mistakes is that
01:28:02.660 --> 01:28:05.900
you should not fail for real during your session
01:28:05.900 --> 01:28:11.940
because then you've made many mistakes
01:28:11.940 --> 01:28:14.620
tow for real, three were false but the conclusion is 01:28:14.620 --> 01:28:17.920 that you need to practice more
01:28:17.920 --> 01:28:23.320
so be careful with apparent mistakes, they're ok
01:28:23.320 --> 01:28:26.060
except you can make a real mistake look like an apparent one
01:28:26.060 --> 01:28:27.980
if you can sell it
01:28:27.980 --> 01:28:33.820
it depends on how you play it, you have to be careful with those things
01:28:33.820 --> 01:28:38.820
but it's aver interesting opener
01:28:38.820 --> 01:28:44.980
so, can you take any card? it doesn't matter what it is
01:28:44.980 --> 01:28:49.220
you can look at it and remember it
01:28:49.220 --> 01:28:52.500
because it won't be me who will find the card
01:28:52.500 --> 01:28:56.180
it won't be me, actually.
01:28:56.180 --> 01:29:02.280
I'm going to throw myself into the most absolute randomness
01:29:02.280 --> 01:29:07.180
so the deck will dictate whatever happens from now on
01:29:07.180 --> 01:29:10.760
but I trust it. for example
01:29:13.800 --> 01:29:19.560
the first card from I turn over will tell me the color of your card
01:29:19.560 --> 01:29:24.220
so keep your poker face, don't help me at all
01:29:24.220 --> 01:29:30.080
because I want the deck to take me to good fortune
01:29:30.080 --> 01:29:32.780
so the first card will tell me the color of yours
01:29:34.560 --> 01:29:39.060
black! so we know your card is black
01:29:41.700 --> 01:29:46.980
I know I'm doing it right, so if it's black it must be spades or clubs
01:29:46.980 --> 01:29:51.780
the next card will tell me the suit of your card
01:29:51.780 --> 01:29:56.900
I know it's black so it must be spades or clubs
01:29:56.900 --> 01:29:58.800
spades
01:30:04.640 --> 01:30:15.180
spades, maybe the most important is the position of the card
01:30:17.840 --> 01:30:23.120
the fourth position, this means that no matter if I cut or shuffle
01:30:23.120 --> 01:30:27.020
when I count 4 cards the fourth will be yours
01:30:27.020 --> 01:30:29.120
just because, it never fails
01:30:29.120 --> 01:30:35.500
ready? 1, 2, 3, 4
01:30:36.960 --> 01:30:39.620
be honest, between you and me
01:30:39.620 --> 01:30:43.440
do you it's possible that this is your card? yes or no? 01:30:43.440 --> 01:30:45.100 - yes -yes?
01:30:45.100 --> 01:30:48.820
really you trust me that much?
01:30:48.820 --> 01:30:53.060
because some people don't trust me but
01:30:53.060 --> 01:30:56.340
but it doesn't matter because if magic is the art of the impossible
01:30:56.460 --> 01:31:00.180
and it's impossible for some people that this is the selected card
01:31:00.180 --> 01:31:02.480
then just because of that this is the 4 of clubs your card
01:31:02.480 --> 01:31:07.660
thanks you for trusting me
01:31:07.660 --> 01:31:13.980
but usually they don't trust me, you thought it was possible
01:31:14.600 --> 01:31:19.220
did you all thought it was possible?
01:31:19.220 --> 01:31:23.480
-you didn't? why? -because it appeared earlier
01:31:24.480 --> 01:31:28.480
here? did you see it here?
01:31:30.640 --> 01:31:36.660
well, you know. I always put one ace here
01:31:36.660 --> 01:31:41.500
but so it's not alone I always leave a second and a third ace too
01:31:41.500 --> 01:31:44.140
in fact, if you blow on top of you card because that never happens
01:31:44.140 --> 01:31:46.500
now we have the fourth
01:31:46.500 --> 01:31:55.140
and that's it, very good, very good
01:31:55.140 --> 01:32:00.140
is a contradictory trick because when you say "do you think is possible?"
01:32:00.140 --> 01:32:09.040
but every time I do it and I would have to tattoo this on my skin
01:32:09.040 --> 01:32:13.160
every time a woman takes the card, and this is a fact
01:32:13.160 --> 01:32:14.660
and you ask them if it is possible
01:32:14.660 --> 01:32:18.160
they are so positive and optimistic that they ruin the ending
01:32:18.160 --> 01:32:24.900
because all of them say yes, truly is rare when a woman says no to me
01:32:24.900 --> 01:32:35.020
did you see what I did there? well, let's leave it at that
01:32:35.160 --> 01:32:39.880
so it's very interesting because women tend to say yes
01:32:39.880 --> 01:32:43.180
I don't know what psychological mechanism is working there
01:32:43.180 --> 01:32:45.640
but they tend to say yes
01:32:45.640 --> 01:32:51.060
instead the guys usually say no
01:32:51.060 --> 01:32:53.980
so if you think it's impossible that this is the selected card
01:32:54.060 --> 01:32:56.060
then just of that here it is 01:32:56.060 --> 01:33:00.440 and it frames the reason for the card to change very well
01:33:00.440 --> 01:33:05.780
I like it a lot because swithching the cards for the aces
01:33:05.780 --> 01:33:09.080
I thought about it when I learned this switch
01:33:09.180 --> 01:33:11.940
I don't know who originated it, do you all know it?
01:33:11.940 --> 01:33:21.060
there are also techniques that are very popular and then they disappear
01:33:21.160 --> 01:33:26.420
for lack of use or whatever, so you hold a break
01:33:26.420 --> 01:33:32.460
and then just drop it, everybody knows it? do you use it?
01:33:33.560 --> 01:33:39.440
there are great things you can do with this, like an ambitious card
01:33:39.440 --> 01:33:44.440
and placing the card on top
01:33:44.440 --> 01:33:50.940
don't let it drop, just place the packet on top and that's it
01:33:50.940 --> 01:33:55.820
put it on top of the other packet and that it looks great
01:33:55.820 --> 01:33:59.520
even as control, take a card
01:34:00.140 --> 01:34:06.240
and without even thinking about it, put it back and that's it
01:34:07.420 --> 01:34:13.420
it's perfect, without any dressing because in the end
01:34:13.420 --> 01:34:17.900
the only point of this is to cover the switch, but it's not necessary
01:34:20.180 --> 01:34:25.300
no extras, and it looks great
01:34:25.300 --> 01:34:27.900
so what I do is a leave the ace of spades on top
01:34:27.900 --> 01:34:32.640
it doesn't really matter which ace it is, what matters is that
01:34:32.640 --> 01:34:37.600
over the second ace there's a four, which will set up the ending
01:34:37.600 --> 01:34:43.140
this card here will never be seen
01:34:43.140 --> 01:34:51.120
and this one will be seen so it's x card, ace, 4, ace, x card and ace
01:34:51.120 --> 01:34:56.120
these two will be seen, now if you want to make sure
01:34:57.340 --> 01:34:59.820
I was about to say some nonsense
01:34:59.820 --> 01:35:08.160
because this trick has two ways of unfolding that can't be controlled
01:35:08.160 --> 01:35:13.260
you can if you force a card that doesn't match the information
01:35:13.260 --> 01:35:17.680
but if you don't want to do that
01:35:17.680 --> 01:35:24.080
you can play it towards an absolute no
01:35:24.080 --> 01:35:33.220
well, the color will always match but everything else doesn't make sense 01:35:33.320 --> 01:35:39.640 however when they see the card is the same
01:35:41.740 --> 01:35:44.640
because they are not expecting it
01:35:45.820 --> 01:35:49.700
it's great the absolute bewilderment
01:35:49.700 --> 01:35:52.300
because they don't know it's there
01:35:52.300 --> 01:35:56.520
this explains that Vernon quote that's usually not well explained
01:35:56.520 --> 01:36:00.100
where he says "confusion is not magic" that's gold
01:36:00.100 --> 01:36:07.360
the only thing that's missing is that it only applies to the effect
01:36:07.880 --> 01:36:10.340
confusion is not magic in the effect
01:36:10.340 --> 01:36:13.540
however confusion related to the drama
01:36:13.540 --> 01:36:19.000
it's a dramatic resource of first order, and that's what's happening here
01:36:19.000 --> 01:36:25.720
the spectator is confused about the circumstances
01:36:25.720 --> 01:36:27.860
but the effect is clear, the card is here
01:36:27.920 --> 01:36:29.700
and that doesn't happen very often
01:36:29.700 --> 01:36:35.240
the identity of a face down card that remains in time during the trick
01:36:35.240 --> 01:36:40.140
that very rare, because this tends to weaken over time
01:36:40.140 --> 01:36:43.280
remember the slow motion aces
01:36:43.280 --> 01:36:48.280
every ace is weaker than the previous
01:36:48.280 --> 01:36:51.740
you can tell by looking at the spectator
01:36:51.740 --> 01:36:54.540
they take it maybe for being polite
01:36:54.540 --> 01:36:58.140
"but if you show them before you'd be doing me a favor because"
01:36:58.140 --> 01:37:04.640
"it looks like it, it looks like it but"
01:37:04.640 --> 01:37:09.640
"I'm filled with doubt, because the card is face down" so this is great
01:37:09.640 --> 01:37:14.640
and that means that some sensitive elements like the identity
01:37:14.640 --> 01:37:18.100
the feeling of travel. If you do Vernon's travelers
01:37:18.100 --> 01:37:21.580
you have the card signed so there's absolute certainty
01:37:21.580 --> 01:37:27.680
that the signed ace that's on the deck is the same I pull out of my pocket
01:37:27.680 --> 01:37:30.300
what does the signature say? that it's the same ace
01:37:30.300 --> 01:37:32.300
does it say anything about the travel? no
01:37:33.040 --> 01:37:34.700
nothing about the travel
01:37:34.700 --> 01:37:37.060
I know that this ace that was in the deck
01:37:37.060 --> 01:37:39.380
is now in your pocket and it is singed
01:37:39.380 --> 01:37:42.860
or in the wallet, it's amazing but I have no idea of how it happened
01:37:42.860 --> 01:37:45.300
so what phenomenon are we talking about? none
01:37:45.300 --> 01:37:52.200
is it traveling? does it disappear, what are we saying here?
01:37:52.200 --> 01:37:54.780
if you take into account the feeling
01:37:54.780 --> 01:37:56.740
the signatures would not be relevant
01:37:57.180 --> 01:38:01.220
to do the Vernon travelers without signing the aces
01:38:01.740 --> 01:38:05.800
it should work if the trick meets all of the requirements
01:38:05.800 --> 01:38:08.700
if you don't do it without the signatures it's because
01:38:08.700 --> 01:38:13.560
there's no ability to conceive it properly
01:38:13.560 --> 01:38:17.140
instead here we have a perfect example
01:38:17.140 --> 01:38:20.560
where the identity of the card remains in time
01:38:20.560 --> 01:38:23.140
the coin in the deck, it must be the same coin
01:38:23.140 --> 01:38:25.900
but it should be the same even of you're using two 01:38:25.900 --> 01:38:29.780 the feeling must come before the reality, just like before
01:38:29.780 --> 01:38:31.720
"what happens" is not as important as "what it looks like"
01:38:31.720 --> 01:38:34.860
what should it look like? that it's the same coin
01:38:34.860 --> 01:38:36.480
even if it's not the same coin it must look like it
01:38:36.480 --> 01:38:44.620
if not then we have to go to Juan's version using Slydini's techniques
01:38:44.620 --> 01:38:49.220
through the table, then Juan's signature appears
01:38:49.220 --> 01:38:51.500
and on the other side the spectator's signature and it' very strong
01:38:51.500 --> 01:38:54.840
because they understand that it's another coin
01:38:54.840 --> 01:38:57.820
so I don't think it's a good job
01:38:57.820 --> 01:39:01.600
I'm sorry but I don't think it's a good formula
01:39:01.600 --> 01:39:07.840
revealing the trick by saying it's another coin just to show it's the same
01:39:07.840 --> 01:39:12.840
the effect is very strong which is what happens with false clues
01:39:12.840 --> 01:39:17.780
where you end up completely dumbfounded because there are no more options 01:39:17.780 --> 01:39:26.620 that was the last resort and when it's gone your left nowhere
01:39:26.800 --> 01:39:30.820
internally is very powerful
01:39:30.820 --> 01:39:35.820
just through the possibilities of the trick, if you see a feather
01:39:35.820 --> 01:39:40.820
you know a dove is coming out, so when it appears there's nothing else
01:39:40.820 --> 01:39:44.980
that's the example he uses to explain this
01:39:44.980 --> 01:39:49.380
here however it's the context of the trick itself
01:39:49.380 --> 01:39:50.740
what makes it hold over time
01:39:50.740 --> 01:39:57.060
so we have to look for other mechanisms either dramatic or psychological
01:39:57.060 --> 01:40:02.060
that help to create feelings over reality and facts
01:40:02.060 --> 01:40:04.860
and that's very difficult
01:40:04.860 --> 01:40:11.220
I'm sorry to say this but to come up with another version of the triumph
01:40:11.220 --> 01:40:18.080
can be done with one hand tied to the back
01:40:18.360 --> 01:40:20.660
to make this card's name remain in time
01:40:20.660 --> 01:40:24.060
requires a lot of work and profound thinking 01:40:24.060 --> 01:40:29.700 to come up with tricks based on techniques
01:40:29.700 --> 01:40:38.220
just creates more material and less quality
01:40:38.320 --> 01:40:43.460
me and anybody here could publish a book a month
01:40:43.460 --> 01:40:48.460
with worthless material that has no sense for the future
01:40:48.460 --> 01:40:53.460
so I think it's better to focus and solve deeper stuff like this
01:40:53.460 --> 01:40:57.660
this card remains in time, the reasons must be analyzed
01:40:57.660 --> 01:41:00.720
and the rule must be extracted from the trick
01:41:00.720 --> 01:41:05.720
because the rule can be used as a tool
01:41:05.720 --> 01:41:08.540
that can be applied to many things
01:41:08.540 --> 01:41:10.720
if you only stay with the trick the you're collecting events
01:41:10.720 --> 01:41:15.720
but you're not learning so we have to look for the hidden rules
01:41:15.720 --> 01:41:18.660
that's what Ascanio did, he looked for the general rule
01:41:18.660 --> 01:41:22.180
and with it all the applications for it
01:41:22.180 --> 01:41:25.380
so after the first hit 01:41:25.380 --> 01:41:30.580 I'm sorry for digressing but otherwise I don't enjoy it
01:41:30.720 --> 01:41:38.460
the card is controlled to the top, not much to say there
01:41:38.460 --> 01:41:41.840
I like the quote about randomness a lot
01:41:41.840 --> 01:41:48.220
don't tell me anything, keep a poker face
01:41:48.220 --> 01:41:50.860
and that's it everything is the same
01:41:50.860 --> 01:41:53.740
the attitude is that this is an experiment
01:41:53.740 --> 01:41:55.700
in the Nelms book it's very well explained
01:41:55.700 --> 01:41:58.520
a demonstration always work, an experiment can go wrong
01:41:58.520 --> 01:42:01.620
what are you doing? a demonstration or an experiment?
01:42:01.680 --> 01:42:03.980
I have an experiment I'm throwing myself into randomness
01:42:04.420 --> 01:42:06.460
and I hope lady luck is on my side
01:42:06.460 --> 01:42:13.520
an in that case we will have a great night
01:42:13.520 --> 01:42:15.080
let's start
01:42:15.220 --> 01:42:21.020
but something can go wrong
01:42:21.020 --> 01:42:27.800
so because it is an experiment so I apply that quality to it
01:42:27.800 --> 01:42:31.880
so let's begin
01:42:31.880 --> 01:42:33.980
I shuffle and cut and whatever card ends up on top
01:42:33.980 --> 01:42:36.880
will tell me the color of your card
01:42:36.880 --> 01:42:45.940
everybody must see the card, pay attention because w only have one chance
01:42:45.940 --> 01:42:51.680
and when they see the card the party starts
01:42:51.680 --> 01:42:59.380
they start looking at each other. "it's red"
01:42:59.820 --> 01:43:02.380
and they look at you
01:43:02.680 --> 01:43:06.020
they don't understand anything it's like they are in limbo
01:43:06.100 --> 01:43:08.960
but it's fascinating to understand the psychology behind it
01:43:08.960 --> 01:43:12.500
because you are building the spectator for the trick
01:43:12.500 --> 01:43:15.440
and you can do that if you know where and how to put it there
01:43:15.660 --> 01:43:20.980
the card right now is giant, it shines
01:43:20.980 --> 01:43:25.700
it's like the northern star
01:43:25.700 --> 01:43:34.500
it's absolutely blinding so now they won't see the sleight 01:43:34.500 --> 01:43:39.580 they can't see, all the see is the 3 dancing in their mind
01:43:39.580 --> 01:43:43.580
you could load an elephant here and nobody will know
01:43:43.580 --> 01:43:46.220
but you have to understand why
01:43:46.220 --> 01:43:50.480
you could switch the deck too so it's red so it has to be
01:43:50.480 --> 01:43:56.600
diamonds or hearts, they say yes but they're still troubled about the 3
01:43:56.600 --> 01:44:01.600
they can barely listen now
01:44:01.600 --> 01:44:07.240
they can only think of the 3, so understand that state
01:44:07.240 --> 01:44:13.220
diamonds or hearts, now if this comes up it's a killer
01:44:13.220 --> 01:44:15.720
because if a heart comes out now
01:44:17.900 --> 01:44:21.020
the impression is still the same
01:44:21.020 --> 01:44:26.960
because even though it is hearts the card is right here
01:44:26.960 --> 01:44:33.060
but if clubs comes out then it's very clear
01:44:33.060 --> 01:44:37.700
diamonds or hearts? clubs!
01:44:37.700 --> 01:44:43.860
they think I'm completely screwed
01:44:43.860 --> 01:44:51.500
and they wonder how am I going to get out of this, before it went well
01:44:51.500 --> 01:44:59.200
it was a black card but yours was clubs, so there's less contrast
01:44:59.200 --> 01:45:06.760
but here is great, and now you can say with conviction
01:45:06.760 --> 01:45:11.760
the color of the selected card, red!
01:45:11.760 --> 01:45:21.020
you're feeling great, now the next will tell me the suit
01:45:21.020 --> 01:45:26.020
the suit, I hope luck is on my side
01:45:26.020 --> 01:45:31.320
spades! well
01:45:32.100 --> 01:45:42.220
a red spade... so then you do a little pep talk and that get some laughs
01:45:42.220 --> 01:45:49.620
because now you know you're screwed
01:45:49.620 --> 01:45:55.280
but this 3 is great
01:45:55.340 --> 01:45:57.340
you must understand the importance of that
01:45:57.340 --> 01:46:04.080
that card can sell itself very strongly
01:46:04.080 --> 01:46:08.180
so the you say the real important thing is the position of your card
01:46:08.180 --> 01:46:10.420
this is not so important
01:46:10.420 --> 01:46:15.460
the next card tells me where your card is
01:46:15.460 --> 01:46:18.420
and now because we've been getting rid of the single cards
01:46:18.420 --> 01:46:23.940
but if you press a little harder you can pull two
01:46:23.940 --> 01:46:28.580
it requires a little more practice
01:46:28.580 --> 01:46:35.600
so now your loading the ace and the next that will be seen
01:46:35.600 --> 01:46:42.380
and that also positions the selected card 4th from top
01:46:42.380 --> 01:46:48.420
"that means that no matter how I shuffle or cut
01:46:48.420 --> 01:46:50.420
when I count 4 cards the last will be yours"
01:46:50.420 --> 01:46:57.460
now you keep you composure because everybody knows the 3 is here
01:46:57.460 --> 01:47:00.060
they all think it's going to go wrong
01:47:00.060 --> 01:47:03.000
what a beginning, everything's going wrong
01:47:03.000 --> 01:47:07.400
they have to like you, these tricks with apparent mistakes
01:47:07.400 --> 01:47:11.260
have a thing because they test the audience very well
01:47:11.260 --> 01:47:14.940
they have to feel bad when you screw up
01:47:14.940 --> 01:47:23.220
if they don't is because they don't like you 01:47:23.220 --> 01:47:27.940 but if they like you they'll have a hard time
01:47:27.940 --> 01:47:30.920
and that helps to make the ending stronger
01:47:30.920 --> 01:47:38.980
because everybody is happy and everything works
01:47:38.980 --> 01:47:43.980
so I keep conviction and count the 4 cards
01:47:43.980 --> 01:47:46.660
and now I ask do you really think this could possibly be your card?
01:47:46.660 --> 01:47:48.780
they say no
01:47:48.780 --> 01:47:51.180
well, thank you fro trusting the artist
01:47:51.180 --> 01:47:54.180
but we're here to watch the impossible
01:47:54.180 --> 01:47:56.960
so if you think it's impossible that this is your card then
01:47:56.960 --> 01:47:59.660
maybe just because of that this card is no other that
01:47:59.660 --> 01:48:01.960
and everybody wants me to show the card
01:48:01.960 --> 01:48:06.960
and that's what I don't want, I want to tease them for a long as I can
01:48:06.960 --> 01:48:12.120
there's the 3, they don't understand anything, the top change is a joke
01:48:12.120 --> 01:48:18.860
make a comment or something and leave it there 01:48:19.900 --> 01:48:29.660 now we have to find out why the surprise so they say they saw it here
01:48:29.660 --> 01:48:34.660
and it goes from being here to not being there absolutely
01:48:34.660 --> 01:48:40.120
now there's an ace here, and it's not alone there's two more
01:48:40.260 --> 01:48:46.420
and the card you just saw turns into that last ace
01:48:46.420 --> 01:48:53.440
great, I did another top change here, so there's 4 and you can move on
01:48:53.440 --> 01:48:57.080
this trick is great as an opener but
01:48:57.160 --> 01:49:00.260
to use it in the middle of a set it would be the worst version
01:49:00.260 --> 01:49:09.200
of the typical circus trick or the Vernon's fingerprint trick
01:49:09.200 --> 01:49:17.980
or an impossible bet where the selected card is among the eliminated ones
01:49:17.980 --> 01:49:24.460
they all belong to the same family, the apparent mistake
01:49:24.460 --> 01:49:28.220
every time is clearer that you're screwed
01:49:28.220 --> 01:49:32.860
and at the end everybody's happy and pleased
01:49:32.860 --> 01:49:38.100
or Vernon's 4 of a kind, a 7, a 7, a 7, the we turn it and it's a 10
01:49:38.100 --> 01:49:40.440
so now we do some magic and they all turn to 10's
01:49:40.440 --> 01:49:49.220
the best card trick ever, because it shows the power of the magician
01:49:49.220 --> 01:50:00.080
in its purest form, the best card trick in the world for sure, but
01:50:00.080 --> 01:50:03.140
out of that family of apparent mistakes tricks
01:50:03.140 --> 01:50:05.460
this is the worst unless you use it as an opener
01:50:05.460 --> 01:50:07.160
because the sin
01:50:08.340 --> 01:50:11.200
of producing the aces that have nothing to do with the trick is forgiven
01:50:11.200 --> 01:50:15.500
this is what I call to wash with dirty water
01:50:15.500 --> 01:50:19.140
if you do an ambitious card where the card ends inside the wallet
01:50:19.140 --> 01:50:20.960
you are washing with dirty water
01:50:21.220 --> 01:50:25.220
I mean the better the ending with the wallet
01:50:25.220 --> 01:50:27.860
the worst for rest of the routine
01:50:27.860 --> 01:50:29.880
because it's going to wipe it out of memory
01:50:29.880 --> 01:50:36.000
so you're working for nothing, you're washing the floor with dirty water
01:50:36.000 --> 01:50:41.580
you're putting the effort and the work and in the end it's worthless
01:50:41.580 --> 01:50:48.220
because doing a great trick that ends with something that doesn't fit
01:50:48.220 --> 01:50:53.460
the more elaborate the worse because
01:50:53.460 --> 01:51:05.900
the ending will wipe everything out, and that's what the aces do here
01:51:05.900 --> 01:51:10.380
it helps psychologically to put the spectator in a place
01:51:10.380 --> 01:51:13.100
where I can keep manipulating him later so it works great as an opener
01:51:13.100 --> 01:51:18.080
but it would be very bad to use it in the middle of a session
01:51:18.080 --> 01:51:23.080
and with that I say good bye
01:52:05.740 --> 01:52:09.820
We had some time to leave the room,
01:52:09.820 --> 01:52:11.960
so we can be more intimate, how did you feel?
01:52:12.740 --> 01:52:21.340
-well, great, awesome -they're applauding there, another round of applause
01:52:21.340 --> 01:52:26.340
thanks for sharing all that information with us
01:52:26.340 --> 01:52:31.900
so now we'll ask you some personal questions, let's start
01:52:31.900 --> 01:52:40.220
with what we call the fast five at Kaps live 01:52:40.220 --> 01:52:47.860 -it rhymes very well -as long as someone knows what it means because I don't
01:52:47.860 --> 01:52:50.980
to give you s straight answer I can tell you that
01:52:50.980 --> 01:52:57.320
non-magic books there are too many to mention
01:52:57.320 --> 01:53:00.740
a magic book would have to be an undervalued book which is
01:53:00.740 --> 01:53:02.980
"magic and showmanship" by H. Nelms is very fundamental
01:53:03.080 --> 01:53:04.120
and well read
01:53:04.300 --> 01:53:07.800
-A magician -Tommy Wonder
01:53:07.800 --> 01:53:11.380
because he challenged himself all his life, that's very rare
01:53:11.500 --> 01:53:17.800
-a spectator? -a spectator? by name?
01:53:18.740 --> 01:53:23.700
a friend from my childhood who I used as a Guinea pig all the time
01:53:23.700 --> 01:53:25.500
and he was very discreet
01:53:25.500 --> 01:53:29.380
even though he knew every secret he never opened his mouth
01:53:29.380 --> 01:53:33.580
everybody should have a friend like that
01:53:33.940 --> 01:53:39.000
-A sleight? -A Sleight 01:53:39.000 --> 01:53:43.260 I wouldn't know what to say, I'm not in love with sleights
01:53:43.260 --> 01:53:50.300
I consider it like Ascanio says in its right measure
01:53:51.160 --> 01:53:55.020
for example techniques that serve many purposes are not attractive to me
01:53:55.020 --> 01:53:57.780
the cull is too universal, that's bad for magic
01:53:59.540 --> 01:54:01.440
those are cages made of gold
01:54:01.560 --> 01:54:05.420
-A trick -A trick?
01:54:05.420 --> 01:54:10.120
out of the many possibilities
01:54:10.120 --> 01:54:18.240
I would say if it's mine or a my version of a trick
01:54:18.240 --> 01:54:23.240
very intense and feeling would be the "flor de coleridge"
01:54:23.240 --> 01:54:27.100
and if it's about classic card magic
01:54:27.100 --> 01:54:29.260
it would have to be the Vernon's 4 of kind
01:54:30.420 --> 01:54:36.180
-Gabi I want to know who would you say are your biggest influences
01:54:36.180 --> 01:54:39.820
outside magic?
01:54:39.820 --> 01:54:42.860
I could say many names 01:54:42.860 --> 01:54:48.580 but knowing the names or the books would be too much
01:54:48.580 --> 01:54:51.980
because I've always read to steal stuff
01:54:51.980 --> 01:54:57.400
for magic and not to defend the author's opinion
01:54:57.400 --> 01:55:06.660
the tapestry is too complex to pull back every string to where it belongs
01:55:06.740 --> 01:55:09.340
it's an infinite debt with a lot of people
01:55:09.340 --> 01:55:13.180
magicians and laymen, for example Luis Garcia
01:55:13.580 --> 01:55:18.780
was fundamental for the magical concepts that I've developed over time
01:55:18.860 --> 01:55:25.040
Juan, Ascanio infinitely, Carroll also
01:55:25.040 --> 01:55:28.340
and out of magic there are many more
01:55:28.340 --> 01:55:30.800
but there's something I call "books for sensitivity"
01:55:30.800 --> 01:55:37.820
and those are 10 or 12 books
01:55:37.820 --> 01:55:40.580
for something that I learned from Kaps through Ascanio
01:55:40.580 --> 01:55:42.740
and it is mind, heart, and hand
01:55:42.740 --> 01:55:45.260
which are concepts, technique and sensitivity
01:55:45.260 --> 01:55:49.140
so we take care of the technique, many care about the concepts
01:55:49.140 --> 01:55:51.100
but nobody talks about sensitivity
01:55:51.100 --> 01:55:57.600
so that private collection are just of books for sensitivity
01:55:57.600 --> 01:56:01.980
like "concerning the spiritual in art" by kandinsky
01:56:01.980 --> 01:56:08.700
"letters to a young poet" by R. M. Rilke
01:56:08.700 --> 01:56:13.700
"The Book of Disquiet" by Fernando Pessoa
01:56:13.700 --> 01:56:19.900
I want to name another one but its not coming to mind
01:56:19.900 --> 01:56:32.400
"art and experience" by a Spanish professor but I can't recall the name
01:56:32.400 --> 01:56:38.900
"libertad como pasion" by daniel innerarity
01:56:38.900 --> 01:56:41.160
who is a great thinker from this country
01:56:41.160 --> 01:56:44.780
I'm not interested in politics so I don't follow him there
01:56:44.780 --> 01:56:48.560
Another renowned author
01:56:48.560 --> 01:56:54.460
from whom I've taken lots from is Jose Antonio Marina
01:56:54.460 --> 01:56:59.900
All of his books from "elogios y refutacion del ingenio"
01:56:59.900 --> 01:57:04.120
to "teoria de la inteligencia creadora" and "La selva del lenguaje"
01:57:05.200 --> 01:57:08.300
"el laberinto sentimental" "etica para naufragos"
01:57:08.300 --> 01:57:11.380
Savater is another powerful thinker
01:57:11.380 --> 01:57:16.260
I don't think Savater is completely right for sensitivity
01:57:16.260 --> 01:57:18.340
but "etica para amador"
01:57:18.340 --> 01:57:23.640
I think is a good read no matter what age you are
01:57:23.760 --> 01:57:30.640
because it teaches you the real value of ethics
01:57:30.660 --> 01:57:33.620
which is something no one talks about in magic
01:57:33.620 --> 01:57:37.900
I call it the dirty underwear ethics
01:57:37.900 --> 01:57:39.940
because you know if you have changed or not
01:57:39.940 --> 01:57:43.040
even if it doesn't show, morals are social ethics are personal
01:57:43.040 --> 01:57:47.460
just like excellence is something you demand to yourself
01:57:47.460 --> 01:57:50.980
so it's an ethical concept
01:57:54.420 --> 01:57:57.420
making everybody see and feel the same
01:57:57.420 --> 01:57:59.320
the yes and yes cover has ethical roots 01:57:59.320 --> 01:58:03.400 I think is something you owe to yourself
01:58:05.040 --> 01:58:08.520
-That's a lot of homework - yes, go work then.
01:58:08.580 --> 01:58:12.780
only if you want, it's not mandatory
01:58:12.780 --> 01:58:17.300
talking about the fictional conception
01:58:17.300 --> 01:58:22.640
you've always talked about the need to think about the spectator
01:58:22.640 --> 01:58:25.360
what do you think is the part of the spectator in magic
01:58:25.360 --> 01:58:32.660
it's essential because the magic view of the world becomes impossible
01:58:32.660 --> 01:58:37.220
because we don't have it so we have to be reminded of it
01:58:37.220 --> 01:58:39.520
but there's no direct way to do that
01:58:39.520 --> 01:58:44.340
so the spectator saves us from that
01:58:44.340 --> 01:58:48.020
so we can't lose sight of the spectator in that sense
01:58:48.440 --> 01:58:51.180
that's the best gift that you can get from a spectator
01:58:51.180 --> 01:58:52.340
seeing something for the first time
01:58:52.340 --> 01:58:55.680
so you have to look at magic from that point of view always
01:58:55.680 --> 01:58:59.420
you always have to think about the magic from outside
01:58:59.420 --> 01:59:02.520
outside and rescue that guy because he's very important
01:59:02.520 --> 01:59:04.780
there's a lot to learn there
01:59:04.780 --> 01:59:08.420
in fact the best version of a game is the one that the spectator makes
01:59:08.420 --> 01:59:10.900
for better or worse, so let's strive for better
01:59:10.900 --> 01:59:18.340
let's look for whatever makes him build that ideal version
01:59:18.340 --> 01:59:23.320
of the trick in his mind that he can share later like Juan says
01:59:23.320 --> 01:59:26.180
memorability is very important
01:59:26.180 --> 01:59:29.400
and it must be something to look for in tricks
01:59:31.120 --> 01:59:36.380
in the fictional conception you always point the difference between
01:59:36.380 --> 01:59:39.040
the "prestimano" and the "magical self"
01:59:39.040 --> 01:59:43.640
that are to different things, could you elaborate on that?
01:59:43.640 --> 01:59:46.280
of course, that comes from the non magic readings
01:59:46.280 --> 01:59:49.860
in literature the talk about the writer and the narrator
01:59:49.860 --> 01:59:52.380
in theater about the actor and the character
01:59:52.380 --> 01:59:56.940
and those shades are important because the writer writes
01:59:56.940 --> 02:00:00.640
but he has to choose a narrative voice inside the fictional space
02:00:00.640 --> 02:00:05.120
where the novel or the story exist. who is the narrator?
02:00:05.120 --> 02:00:07.420
is the same writer but if he is a witness
02:00:07.420 --> 02:00:10.120
a protagonist or an omniscient being
02:00:10.120 --> 02:00:13.660
his perception about that space is different
02:00:13.660 --> 02:00:17.360
as a witness it can only talk about what he's seen
02:00:17.360 --> 02:00:22.940
likewise if he's the protagonist he can add feelings, memories and more
02:00:23.100 --> 02:00:28.220
and it can imagine things about others but it can't be sure
02:00:28.220 --> 02:00:29.280
an omniscient narrator can
02:00:29.280 --> 02:00:33.340
the omniscient narrator knows all
02:00:33.340 --> 02:00:37.740
and I think those characters are relevant to magic
02:00:37.740 --> 02:00:43.060
and the actor is the same, the actor knows everything about the character
02:00:43.060 --> 02:00:45.220
but the character only lives the present of the play
02:00:45.220 --> 02:00:47.460
even if the actor knows that
02:00:47.460 --> 02:00:47.500
the character it's going to die in the next scene
02:00:47.500 --> 02:00:50.780
as a character he can't be aware of that
02:00:50.780 --> 02:00:52.980
he knows it as an actor but not as a character
02:00:52.980 --> 02:00:59.980
so he must act as if he's not going to die
02:00:59.980 --> 02:01:02.100
magicians also have that inner conflict
02:01:02.200 --> 02:01:05.860
so to avoid that is separating the "prestimano" and the "magic self"
02:01:05.860 --> 02:01:10.620
the prestimano is who thinks, theorizes, rehearses and makes decisions
02:01:10.620 --> 02:01:17.040
specially in sleight of hand and the magical self is who's going to act
02:01:17.040 --> 02:01:19.360
among the choices the prestimano has to make
02:01:19.380 --> 02:01:22.300
are creating the magical self and creating the spectator
02:01:22.300 --> 02:01:24.780
what kind of magician needs to do this trick
02:01:24.780 --> 02:01:26.980
and what kind of spectator I want to create
02:01:27.160 --> 02:01:30.780
the spectator is not there waiting for you, you have to make him
02:01:30.780 --> 02:01:36.920
and change him mentally so that he can feel touched
02:01:36.920 --> 02:01:39.900
because there's a connection between the spectator
02:01:39.900 --> 02:01:43.960
and the construction of the trick
02:01:43.960 --> 02:01:48.200
because it was thought with that look in mind
02:01:48.200 --> 02:01:51.800
if no one's looking you're good with just books
02:01:51.920 --> 02:01:54.900
what book would you take to a desert island?
02:01:54.900 --> 02:01:56.580
I wouldn't take a book I'd take a spectator
02:01:56.580 --> 02:02:01.820
of course if you can take a book I know you can
02:02:01.820 --> 02:02:03.000
because there's no one looking
02:02:03.200 --> 02:02:08.260
because the thing that's missing in most magic books is the spectator
02:02:09.100 --> 02:02:14.500
and that drive me mad because I want to know about the guy that's looking
02:02:14.500 --> 02:02:17.280
and what's going on with him and I want to learn from that
02:02:17.280 --> 02:02:21.180
so when I do that trick for someone else 02:02:21.180 --> 02:02:25.200 I can be conscious about the inner state of people
02:02:28.500 --> 02:02:31.840
the one that relates to the spectator is the magical self
02:02:31.840 --> 02:02:35.860
of course, but the prestimano must know the psychology
02:02:35.860 --> 02:02:39.640
the prestimano is the one that reads Ascanio
02:02:39.640 --> 02:02:44.200
and in any case the magical self is the one the experiences it
02:02:44.200 --> 02:02:51.960
for the prestimano life is what happens while he thinks
02:02:51.960 --> 02:02:56.960
for the magic self life is life, so thinking is for the prestimano
02:02:56.960 --> 02:03:02.580
the magic self lives in the present
02:03:02.580 --> 02:03:06.620
because magic is an art of time not space
02:03:06.620 --> 02:03:10.600
and of the present not a virtual time or
02:03:10.600 --> 02:03:13.420
something you can file or store,
02:03:13.420 --> 02:03:18.280
is not the movie time which is also is a virtual value inside a movie
02:03:18.280 --> 02:03:22.580
but the present of the magic self is the present time
02:03:22.580 --> 02:03:26.280
you get old as you preform
02:03:26.280 --> 02:03:29.820
I'm not the same that walked in
02:03:29.820 --> 02:03:31.740
and the spectator shouldn't be the same either
02:03:31.740 --> 02:03:34.940
the spectator that started watching the show
02:03:34.940 --> 02:03:36.440
can't be the same by the time you finish
02:03:36.440 --> 02:03:42.100
that guy changes along the trick and you change with him
02:03:42.100 --> 02:03:50.380
so classifying the trick as openers, closers, strong one, visuals
02:03:50.380 --> 02:03:56.400
I think is very poor and childish in any case it should be more profound
02:03:56.400 --> 02:04:03.460
how to compose a trick so that the person who watches it
02:04:03.460 --> 02:04:08.140
has changed by the time I'm done
02:04:08.720 --> 02:04:10.500
there are many ways
02:04:10.500 --> 02:04:15.460
so now you have to think about what enriches him and what changes him
02:04:15.460 --> 02:04:19.300
I don't like the James Bond type of magicians
02:04:19.300 --> 02:04:23.040
who come out of the beach with perfect hair
02:04:23.040 --> 02:04:26.780
you can't come out of the session like nothing happened
02:04:26.780 --> 02:04:31.420
at least sweat a little
02:04:31.420 --> 02:04:35.940
there are close up magic sessions that if you walk
02:04:35.940 --> 02:04:38.740
into the room after it's over you don't see anything
02:04:38.740 --> 02:04:41.500
not even a piece of paper in the ground
02:04:41.500 --> 02:04:43.740
it doesn't look like anything happened, and there are others
02:04:43.740 --> 02:04:46.740
and you can't stop wondering about what might have happened there
02:04:46.740 --> 02:04:48.740
that's living magic
02:04:49.760 --> 02:04:54.140
if someone who has no idea of what was going on
02:04:54.140 --> 02:04:57.840
comes in and sees and starts wondering
02:04:57.840 --> 02:05:06.960
something happened there, just like the houses from the magazines
02:05:06.960 --> 02:05:10.580
they look like no one has ever lived there
02:05:10.580 --> 02:05:16.580
everything's so perfect that looks fake
02:05:16.580 --> 02:05:21.020
it's the same, anything a pacifier, a toy, something on the floor
02:05:21.020 --> 02:05:25.160
life weaving through the experience
02:05:25.160 --> 02:05:31.800
take you jacket off, lose your hair, do something 02:05:31.800 --> 02:05:39.180 sweat a little, and if somebody comes later
02:05:39.180 --> 02:05:47.240
and sees everything it would have to notice it like "what happened here"
02:05:47.240 --> 02:05:52.460
reality itself is talking to you, that's what a magic session should be
02:05:52.460 --> 02:05:55.980
the James Bond magicians can stay home
02:05:55.980 --> 02:06:00.280
before you mentioned Juan (Tamariz), Arturo (Ascanio) and Pepe (Carroll)
02:06:00.280 --> 02:06:03.500
-the inevitables -the inevitables yes.
02:06:03.500 --> 02:06:07.260
you've recognized them as your teachers as well as Micky Conesa
02:06:07.260 --> 02:06:12.100
yes, and it's impossible to think about magic without them
02:06:12.100 --> 02:06:15.320
how is your relationship with them
02:06:15.320 --> 02:06:24.040
well everybody has their own story
02:06:24.040 --> 02:06:28.980
different and separated but very punctual
02:06:28.980 --> 02:06:32.940
Micky Conesa was my friend and teacher
02:06:32.940 --> 02:06:36.200
when there was too much secrecy and mistery around magic knowledge
02:06:36.200 --> 02:06:39.340
in that time knowledge was equal to power
02:06:39.340 --> 02:06:45.280
so when you shared you lost your power
02:06:45.280 --> 02:06:50.980
a lot of class discrimination and also about knowledge
02:06:50.980 --> 02:06:55.180
so people who went to Madrid, the ones that speak english it was important
02:06:55.180 --> 02:06:57.980
it was important
02:06:57.980 --> 02:07:02.540
it was important to have all the sources of knowledge
02:07:07.740 --> 02:07:13.340
when I met Micky Conesa he taught me everything he knew
02:07:13.340 --> 02:07:16.880
the way he knew it with absolute generosity
02:07:16.880 --> 02:07:23.980
later I could judge the tricks for myself
02:07:23.980 --> 02:07:34.080
if they were good or not so much but he shared everything he had with me
02:07:34.080 --> 02:07:45.080
he's my friend and teacher and everyone should have one person like that
02:07:45.080 --> 02:07:50.340
someone who opens up and pushes you
02:07:50.340 --> 02:07:52.540
to acquire knowledge that you can't get any other way
02:07:52.640 --> 02:07:56.480
also he reads a lot and he knows a great deal about magic
02:07:56.480 --> 02:08:02.840
my relation with Ascanio is only through reading
02:08:02.840 --> 02:08:06.780
Juan is a teacher from life watch Juan perform
02:08:06.780 --> 02:08:12.500
is a permanent lesson without question
02:08:12.600 --> 02:08:16.020
I could spend a long time talking about
02:08:16.020 --> 02:08:21.040
the things that me and others have learned from Juan
02:08:21.040 --> 02:08:29.800
Mr. Tamariz is inexhaustible so you can't think without him
02:08:29.800 --> 02:08:36.660
even if you try to contradict or prove him wrong, that's also convenient
02:08:36.660 --> 02:08:42.720
critic, friction, debate
02:08:42.720 --> 02:08:53.420
I worship Juan but I'm not him so I can't think exactly like him
02:08:53.420 --> 02:08:57.700
I think he has the best definition of magic
02:08:57.700 --> 02:09:01.000
he has the answer to many questions. the magic as art
02:09:01.000 --> 02:09:05.980
a very different experience that no other art can't create by itself
02:09:05.980 --> 02:09:09.860
every art is differentiated by the unique experience that they create
02:09:09.860 --> 02:09:13.720
every art creates a different reaction from all the other possible arts
02:09:13.720 --> 02:09:17.020
what's magic reaction? the mistery of the impossible 02:09:17.020 --> 02:09:18.720 Juan talks about all of that
02:09:18.720 --> 02:09:21.260
and to this day I agree with that
02:09:21.260 --> 02:09:24.100
what I don't agree with is with how is applied
02:09:24.680 --> 02:09:29.460
he applies it so the intellect gives up to the feelings
02:09:29.460 --> 02:09:32.040
and the rainbow and everything else
02:09:32.040 --> 02:09:41.460
that's "the how", "the what" I kneel to "the what" I light candles to
02:09:41.460 --> 02:09:45.400
and everything because without him all of this would be very different
02:09:45.740 --> 02:09:49.040
wht this man has done for magic is invaluable
02:09:49.040 --> 02:09:53.460
"the how" I disagree with and I'll say it to him or the pope or even god
02:09:53.460 --> 02:09:58.460
"the how" is mine and nobody can take it away
02:09:58.460 --> 02:10:03.880
I decide that. "the what" is there, "the how" belong to me
02:10:03.880 --> 02:10:08.380
that's private. and that's Juan
02:10:08.380 --> 02:10:15.840
and Pepe Carrol performed 6 days a week
02:10:15.840 --> 02:10:26.920
he would do table hopping stealing watches and load them into card boxes 02:10:26.920 --> 02:10:29.340 during the half show he would do parlour magic
02:10:29.340 --> 02:10:32.100
and then he did 2 stage acts
02:10:32.200 --> 02:10:40.500
a parlour magic act, and a card manipulation act and after all of that
02:10:40.500 --> 02:10:43.780
a one and a half hour of close up magic set
02:10:43.780 --> 02:10:45.260
sorrounded by people, all of that every single night
02:10:45.260 --> 02:10:50.080
and during those last session he did the whole 52 lovers
02:10:50.080 --> 02:10:54.380
let's check the tricks and see how easy the are, they are not!
02:10:54.380 --> 02:11:01.140
if you ever saw the glove color change in front of the spectator
02:11:01.140 --> 02:11:07.180
and he took the gloves from the table
02:11:07.180 --> 02:11:09.860
two white gloves, he folded them and open them back
02:11:09.860 --> 02:11:12.680
and one was red and the other was black
02:11:12.680 --> 02:11:15.460
he puts them on and did a follow the leader routine
02:11:15.580 --> 02:11:18.000
and he did that at a table width from the spectators
02:11:18.000 --> 02:11:20.180
that was close up magic in all of its glory 02:11:20.180 --> 02:11:22.300 and that's a big point of ebate these days
02:11:22.300 --> 02:11:26.060
if the spectator has to stand up to pick the card
02:11:26.060 --> 02:11:27.900
then that's not close up magic,
02:11:27.900 --> 02:11:32.600
if they have to stand up to take the card then that's not close up magic
02:11:32.600 --> 02:11:36.260
close up magic is up close
02:11:36.260 --> 02:11:39.120
it the mat smells like vinegar they have to smell it
02:11:39.120 --> 02:11:46.600
everything, if you have not taken a shower you're screwed
02:11:46.600 --> 02:11:51.080
but far away it doesn't matter
02:11:51.080 --> 02:11:54.420
close up magic is very close all around
02:11:54.420 --> 02:11:56.420
and that's and added value that's always been there
02:11:56.420 --> 02:12:02.900
the closeness, not because they interact more or shuffle
02:12:02.900 --> 02:12:08.100
eve if just an exhibition if they're looking from there
02:12:08.100 --> 02:12:13.940
it's totally different and that difference adds artistic value to magic
02:12:13.940 --> 02:12:18.940
and demands skill from the magician 02:12:18.940 --> 02:12:24.200 is not that easy
02:12:24.860 --> 02:12:29.480
-that' a great answer -I do what I can
02:12:29.480 --> 02:12:35.820
could you define stages of your magical conceptions?
02:12:35.820 --> 02:12:39.700
it's difficult because the concerns come before that
02:12:39.700 --> 02:12:41.640
hat and you don't were they come from
02:12:41.640 --> 02:12:48.980
but there's a state of satisfaction that you need to absorb
02:12:48.980 --> 02:12:54.520
I've never understood why some people care about this and others don't
02:12:54.520 --> 02:12:59.520
so you can't say if you don't this or if you don't read that
02:12:59.520 --> 02:13:04.520
you can't be a magician, you can't say that
02:13:05.060 --> 02:13:13.860
because you are defined by your needs and the way you fulfill them
02:13:13.860 --> 02:13:17.100
that led me to reading outside magic
02:13:17.100 --> 02:13:19.440
but I don't think I'm able to explain it
02:13:19.440 --> 02:13:25.340
but what I did was to look for people who knew more than me
02:13:25.340 --> 02:13:27.020
and that's something you always have to do 02:13:27.020 --> 02:13:29.820 listen to who knows
02:13:29.820 --> 02:13:32.780
and at least learn how to distinguish between who knows and who doesn't
02:13:32.780 --> 02:13:37.200
be humble enough to admit you have no idea
02:13:37.200 --> 02:13:43.780
like socrates said "I know that I know nothing" just look for who knows
02:13:43.780 --> 02:13:48.540
and that's how my non magic reading started
02:13:48.540 --> 02:13:52.280
he magic and the arts, the queen of the arts
02:13:52.280 --> 02:13:57.280
and nobody knew anything about that, magic and art
02:13:58.420 --> 02:14:05.960
it was like a bad joke, so I want to read about art what can I read?
02:14:05.960 --> 02:14:13.660
and a friend who I respected very much told me
02:14:13.660 --> 02:14:18.460
"the necessity of art" by Ernst Fisher
02:14:18.460 --> 02:14:20.960
and "la definicion del arte" by umberto eco
02:14:20.960 --> 02:14:24.820
understanding that book takes a lot of work
02:14:24.820 --> 02:14:28.980
and those were the book with which I started the non magic reading
02:14:28.980 --> 02:14:35.540
in my twenties, by that time I used to work as a janitor 02:14:35.540 --> 02:14:41.960 because I never wanted to live out of magic
02:14:41.960 --> 02:14:46.300
that implied to deal with people I didn't wanted to see
02:14:46.300 --> 02:14:54.100
people that made me change my conception into something I didn't wanted
02:14:54.220 --> 02:14:59.620
only doing commercial tricks in conditions
02:14:59.620 --> 02:15:02.640
that didn't fit my needs so it was too high of a price to pay
02:15:04.000 --> 02:15:09.680
and the funny thing is when I worked there well what they consider work
02:15:09.680 --> 02:15:15.940
I consider it like I was subsidized and I was paid to read and to be there
02:15:16.260 --> 02:15:22.700
I didn't made a lot of money but was investing time, not money
02:15:22.700 --> 02:15:27.700
and that was a great time
02:15:28.640 --> 02:15:32.800
reading when you have eternity in front of you it changes how you read
02:15:33.480 --> 02:15:38.900
reading in a hurry it's difficult but if you have 8 hours to read
02:15:38.900 --> 02:15:42.020
you can read lots
02:15:47.640 --> 02:15:53.040
I got lost, are you here? I don't know where I went there
02:15:53.160 --> 02:15:56.980
- so that was what started changing you and shaping your conceptions
02:15:56.980 --> 02:15:59.960
-but of course, because it's great
02:15:59.960 --> 02:16:02.360
here is where the art of plagiarism was born
02:16:02.440 --> 02:16:05.300
that is when you change one word for another one and that's it
02:16:05.300 --> 02:16:07.140
"the bow and the lyre" by Octavio Paz
02:16:07.140 --> 02:16:09.120
change poetry for magic and that's it
02:16:09.360 --> 02:16:13.140
there are machines that can write poems but not poetry
02:16:13.140 --> 02:16:17.220
likewise there are machines that can do tricks but not magic
02:16:17.220 --> 02:16:21.540
so when you did this you arrived to complex thoughts
02:16:21.540 --> 02:16:23.680
and that you'd never find in a book
02:16:23.680 --> 02:16:28.680
so the art of plagiarism well applied is great
02:16:29.580 --> 02:16:34.020
-one last question -what a shame
02:16:34.520 --> 02:16:40.920
truly, some months ago I heard you say
02:16:40.920 --> 02:16:45.060
that you aspire to a higher magic
02:16:46.400 --> 02:16:50.700
-so I wanted to ask you what did you meant by that? 02:16:50.700 --> 02:16:53.880 - I have no idea
02:16:53.880 --> 02:16:57.020
maybe if I said it like that
02:16:58.660 --> 02:17:01.360
maybe it was because of the circumstances of the moment
02:17:01.360 --> 02:17:06.860
It sound pretentious of me to say that, so I don't know
02:17:06.860 --> 02:17:12.420
if I had a clearer idea of the context
02:17:12.420 --> 02:17:15.020
it had to do with respect and knowledge
02:17:15.020 --> 02:17:17.280
about all of those thing that we still need to learn
02:17:17.280 --> 02:17:20.960
magic as an art would be what I understand by high magic
02:17:21.220 --> 02:17:24.660
but magic as an art can be very humble, you don't have to make a dinosaur appear
02:17:24.660 --> 02:17:31.120
you don't have to make a dinosaur appear
02:17:31.120 --> 02:17:36.700
we could still do twisting the aces by Vernon or the dreamed card
02:17:36.700 --> 02:17:41.020
it's a very big difference
02:17:41.020 --> 02:17:44.500
when you understand it as art instead of a trick or a secret
02:17:44.500 --> 02:17:46.360
or a secret that has to be hidden as a deception
02:17:46.360 --> 02:17:55.500
something I always say about fictional magic is that
02:17:55.500 --> 02:18:00.500
the landscape hasn't changed only the way we look at it
02:18:00.500 --> 02:18:07.320
the trick has the same requirement as always
02:18:07.320 --> 02:18:15.020
the effect must be clear, the shuffle, the feeling that the card is lost
02:18:15.020 --> 02:18:17.860
that the spectator remembers that the deck was shuffled
02:18:17.860 --> 02:18:22.860
preparing them for the impossible so when the effect hits them
02:18:22.860 --> 02:18:25.500
it does with it's full power, all of that is the same
02:18:25.500 --> 02:18:27.860
the way of doing it can be very different
02:18:27.860 --> 02:18:33.180
it doesn't have to appeal to the negative part of the trick
02:18:33.180 --> 02:18:36.580
with "I didn't touch" or "you shuffled" and stuff like that
02:18:36.580 --> 02:18:40.720
the agnostic magician who dispenses of the concept of the trick
02:18:40.860 --> 02:18:43.480
as a magician I don't really care
02:18:43.620 --> 02:18:46.660
I'm agnostic, the prestimano already made his decision
02:18:46.660 --> 02:18:48.980
then when I switch to my magic self I know he did his job 02:18:48.980 --> 02:18:50.040 and now I'll do mine
02:18:50.040 --> 02:18:53.540
the trick or no trick doesn't matter to me
02:18:53.540 --> 02:18:57.740
I have different needs to be met with the presentation of the trick
02:19:00.560 --> 02:19:04.260
even though the effect is a priority
02:19:04.260 --> 02:19:07.180
then the big question from Juan is "what's the effect?"
02:19:07.180 --> 02:19:11.480
and it's all for the effect
02:19:11.480 --> 02:19:19.280
in my case this translates to
02:19:19.280 --> 02:19:24.140
phenomenons, the effect? a transposition, the phenomenon?
02:19:24.140 --> 02:19:28.560
I don't know, traslation, dematerialization, or whatever you want
02:19:28.560 --> 02:19:33.980
the ambitious card, and why not the obsession?
02:19:33.980 --> 02:19:38.980
which is as abstract as ambition
02:19:38.980 --> 02:19:42.700
but the effect must be clear, the phenomenon can't win
02:19:42.700 --> 02:19:45.260
the patter can't be more important than the effect
02:19:45.260 --> 02:19:48.380
and everything depends on the effect
02:19:48.380 --> 02:19:53.780
now the experience demands something more than the pure effect
02:19:53.780 --> 02:19:58.620
in many occasions, so there's a way of transmitting the experience to the spectator
02:19:58.620 --> 02:19:58.620
in many occasions, so there's a way of
02:19:58.620 --> 02:20:01.960
transmitting the experience to the spectator
02:20:01.960 --> 02:20:09.060
the time machine, the feeling that we traveled back in time even
02:20:09.060 --> 02:20:11.100
but you can feel it on your spine
02:20:11.100 --> 02:20:15.100
the Coleridge flower a dream stepping into reality
02:20:15.100 --> 02:20:22.220
the spectator counts 10 cards
02:20:22.220 --> 02:20:26.600
and what number did you almost dreamed?
02:20:26.600 --> 02:20:31.600
"for the first time!" that's drama and it helps the effect
02:20:31.600 --> 02:20:38.860
"now tell me" now, that all the work's done
02:20:38.860 --> 02:20:46.500
and there's nothing to do. "what number is dancing in your mind?"
02:20:46.500 --> 02:20:52.380
a 3, "and all the cards are in your hand" an emotional hook
02:20:52.380 --> 02:20:54.780
that you've set up from the flower of Coleridge
02:20:54.780 --> 02:20:56.220
and the patter about the dream 02:20:56.300 --> 02:21:03.000 count, 1, 2 and 3 either everybody starts shaking or I jump out the window
02:21:03.000 --> 02:21:07.340
the timing, the pauses, everything
02:21:07.340 --> 02:21:10.420
the clarity, the effect is understood, the cards grow
02:21:10.420 --> 02:21:11.840
you imagine a number
02:21:11.880 --> 02:21:14.620
and that number of cards appear in a packet that was counted
02:21:14.620 --> 02:21:17.700
and it hasn't been touched
02:21:17.700 --> 02:21:20.980
the conditions are the same, the landscape is untouched
02:21:20.980 --> 02:21:23.060
but they way we're looking at it is different
02:21:23.060 --> 02:21:26.560
you can do the same many other ways
02:21:26.560 --> 02:21:30.820
but you've never come close to the cards
02:21:30.820 --> 02:21:35.220
how do you achieve the feeling that you never came close to the packet
02:21:35.340 --> 02:21:39.700
and now are 3 more cards, or 5 or 7
02:21:39.700 --> 02:21:44.120
whatever number the spectator has in mind
02:21:44.120 --> 02:21:51.040
now how to achieve it belongs to you and there is where
02:21:51.040 --> 02:21:53.180
everybody has to look for it's own way 02:21:53.180 --> 02:21:57.100 to enrich magic with it and turn it into art
02:21:57.100 --> 02:22:00.040
art is personal
02:22:00.040 --> 02:22:07.280
it starts from our needs and concerns and how we communicate them
02:22:07.280 --> 02:22:11.100
we are too alike
02:22:11.100 --> 02:22:17.060
even our clothes, everybody dresses in black
02:22:17.060 --> 02:22:22.060
Gabi thank you so much for all of this
02:22:22.060 --> 02:22:24.880
you leave us with a lot of homework for digestion
02:22:24.880 --> 02:22:29.860
recorded and everything, don't miss it
02:22:29.980 --> 02:22:34.720
let's give him a big round of applause
02:22:45.880 --> 02:22:51.340
thank you all for being here
02:22:51.340 --> 02:22:54.660
we'll see you next month with Miguel Gomez and the pleasure of magic