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Forward
OK, there is lot going around about moves,
style and what not about performing magic.
Let's focus on the practice of doing magic.
That is, the audience will not care about
what you use to make a coin disappear, the
way you do your double lift, or how you use
misdirection to steer them away from the
reality of what happens. Here we are after
the economic value of what you do as a
performer. The audience will enter your
magic domain. You will perform for them
and they will then leave your domain. It
matters not if it is a large theater, your
face on a TV screen or you standing beside
a dinner table. At the beginning you start with
a blank scorecard. After your
performance, what will you have achieved
magically? What will your score be?
Al Schneider
Introduction
This article gets into the meat of the
discussion by listing those things outside of
moves and the technical side of magic. It
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addresses things such as interest and
impossibility. An interesting aspect of this
is about an effect being believably impossible.
This seems odd. We want to do something
impossible but we want to make it believable.
This aspect of the subject touches on the
Too Perfect Theory. Next, we leap into
how the audience may perceive the effect
as magic in real time. Does it appear as
magic without cerebral thought? Then we pull
in those that take the cerebral thought path
and see if it measures up when an effect is
studied from a logical point of view. This is
all finished off with an overall discussion
of how quickly the brain of the audience is
tilted out of center. That is, have we gotten
the audience to doubt reality? While each of
these certainly relate to each other in
some way, we will treat them as separate
categories.
Making Magic, Magic
In essence this paper builds a scorecard
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