Dorian CAUDAL

Premier CR ici C'est du bon! John Born’s Meant To Be was one of the best-selling books in the last decade, almost (but not quite) better selling than the BIBLE….. Don’t quote me on that. So its no surprise that I, like many others, were chomping at the bit when I heard of an upcoming sequel. Seeking the Bridge is all cards. The first half of the book is dedicated to techniques and routines with a memorized deck. All of the mem deck material is universal, so any memorized deck can be applied. My only disappointment here is that I did not get to see the pieces in action before reading the book, because this is some really fun stuff. The second half is more general ranging from impromptu, to stack work (such as stay stack), to prepared deck material. It is clear that many of these pieces have been used to slap around magicians, while others come straight from his professional performing repertoire. There are a wide variety of plots tackled in this project. Off of the top of my head, Mr. Born has offered some game-changing tools for the memorized deck, as well as great work for impossible locations, ACAAN, deck switches, the classic stop trick, signed card in spectators pocket, sign card under spectators shoe, the Hummer principle, the Penelope principle, Stay Stack, secret multi-deck preparations, and many others. But what really brings this together are the insights into his way of thinking. John is a master at constructing routines for the maximum amount of impact, and the tips he offered were spot on – too bad I’ll probably never been as smooth or sexy as he is (insert sad face). Most of the routines and presentations are designed to be more psychological, so you won’t find any move-monkey non-sense (false counting tricks or crazy sleight-of-hand). If doing hands-off miracles with a deck of cards is your jam, then what the hell are you waiting for?!?!

J'avais fait pareil avec un jeu invisible sur chatroulette il y a 2 ans environ

J'adore, merci! Je m'en sers depuis 2 jours déjà sans discontinuer!

Merci d'avoir pris le temps de faire cela!

Bienvenue Chips

Les livres sont en route

Salut! Oui je suis à Stockholm depuis septembre. J'ai terminé ma thèse à Paris et me voici en post-doctorat ici

C'est trop mimi

Exploite ce pont naturel

Ce Tyler Wilson est vraiment génial et créatif et ce bouquin est en la preuve. A découvrir (sommaire ici).

En effet, prompt rétablissement Wayne... Ce qui s'est passé: Un lien ici.

Vu à l'instant sur son Tweeter...

Faire croire? C'est faux! Le pouvoir mental est réellement sur-développé lorsque l'on fait du mentalisme.

Ecoute jomagik, soit tu utilises Google traduction et tu dis quelque chose d'intéressant sur le sujet, soit tu arrêtes de pourrir ce sujet avec tes polémiques à 2 balles.

Superbe cet extrait du blog "trcky.com". Même des "pros" ne respectent pas cela... Il faut tous en prendre de la graine! The magician makes a coin vanish. A spectator selects a card. A straightjacket is tightly secured around the performer. These are three different scenarios across three different areas of our craft, yet they all share one major feature. Can you spot it? Think about this, and we'll come back to it later. I recently watched a couple of films. One was called The Avengers. A few superheroes get pissed when a villain steals a powerful object. The other film was called Tub. After being rejected by his girlfriend, a man resorts to jerking off in the shower. The tub gets pregnant. Spoiler alert: I'm about to do some spoiling. The Avengers played out by the superheroes going after the badboy. In ended with an epic battle between good and evil and Gweneth Paltrow looking hot in her short shorts. Tub played out with the tub giving birth. The man wanted nothing to do with the baby but was forced to take care of it, putting a strain on his work and relationships. Eventually, the baby went back from whence it came, leaving the protagonist distraught. What's the difference between these films? Well, a lot: budget, box office receipts, and short shorts to name a few. But let's focus on the main separator: predictability. When we hear the premise for The Avengers, we know exactly what's going to happen. There might be a few minor events that we weren't expecting, but when it comes to the major story arc, we know what we're getting ourselves into before we step foot in that theatre. By contrast, when we hear the premise for Tub, we have no idea what the heck is about to happen. It's a premise we haven't seen before and therefore have no preexisting expectations. Knowing this, let's revisit the three magical scenarios that kicked off this essay. Have you found the common thread tying them together? Yes. They're all predictable. If we vanish a coin, the audience will expect us to bring it back. If we have a card selected, the audience will expect us to find it. If we get into a straightjacket, the audience will expect us to get out of it. Now, it doesn't matter if we have no intention of finding the card. We could be starting a Torn & Restored Card trick; it doesn't matter. If we plainly ask for a card to be selected, that's all our audience can go on. This is why we can spread the cards for a selection and hear, “Oh, I've seen this one before.” To us magicians, that sounds absurd. But we have to appreciate the audience's perspective: we haven't given them a single reason to expect anything else! It's our fault, not theirs. If we don't give the audience a premise to clutch onto, all pick-a-card tricks look identical. Imagine watching a dozen films where the first ten minutes are identical. You'd keep thinking, “Wait, I've already seen this movie.” You'd be wrong, but there's no way for you to know that. I call this the Daryl School. He certainly didn't create it, but watching Daryl's six-volume Revelations DVD set will convince you that he's mastered it. He begins every explanation with some variation of, “Have a card selected and controlled to the top. Now start the trick.” This is a deeply detrimental way of approaching magic. What needs to be understood is that having a card selected is part of the trick. Controlling a card is part of the trick. The “trick” starts before we even remove the cards from the case. The sooner we hook the audience into a premise, the sooner they know they're not watching a rerun. Try this out: lay three random face-up cards on the table along with a quarter of a double backer. Assuming this is the beginning of a trick, do you know what's going to happen? No? Great! Then neither will the audience. Try creating a unique scenario—be it with props, words, or delicious short shorts—then think about where those scenarios can take you. The example with the cards above is only one tiny example of a non-obvious opening gambit. When you start with one of these open-ended opportunities, there's no doubt you'll veer down many dead ends before you find the most exciting route. The dead ends aren't failures, however, they're extra layers preventing our magic from being predictable. They're extra layers of edge-of-your-seat excitement. Starting from scratch isn't the only option. We can also apply this same thinking to existing material. It doesn't take much for a common trick to seem fresh. One of the worst enemies of creating magic is thinking of it as a linear path. We focus on the end effect. That's all we care about. We create the shortest line to that end effect, treating all things before it as procedural necessities, peppering them with jokes just to seem palpable. Let's take a break from that for a moment. Let's stop thinking of the beginning as the beginning, the middle as the middle, the end as the end. The goal isn't to get from A to B. The goal is to explore the alphabet. Yes, even that elusive letter, elemenopee. You'll soon find that this exploration can turn the “boring procedures” into a captivating journey. We're not just taking the audience down the garden path to get hosed, we're letting them enjoy the garden while they're already there. Our magic can still make a bee line, we just need to first spike that bee's nectar. We want him flying around so much he stops being so damn chubby. Take a look at one of your tricks. Try it with one of your own, but for explanation purposes we'll use a Sandwich routine with a standard structure: a card is selected and lost back in the deck, the two sandwich cards are introduced, and the selection magically appears between them. This can be a wonderful trick, but those first few beats are incredibly familiar. Try mixing up the sequence. Start at the middle by introducing the sandwich cards before anything else. Instead, you could start at the end by openly creating a sandwich with an unknown card to set up the final aesthetic. You could even start at some strange undefined point. For example, what if you tried to “find” the spectator's card before she even picked one? You then try again, leaving you with two cards on the table. Finally realizing no cards have been chosen, you offer for one to be selected. These alterations will push the beginning (having a card selected) into the middle of the trick. Granted, these examples assume the audience has never seen a Sandwich trick before. If you're performing for a more savvy audience, try introducing seven sandwich cards. Where will you go from there? This isn't restricted to card tricks. In fact, the more Sherlock-ish of you will recognize that I used such a re-shifting strategy with the intro of this essay. None of this suggests our magic should be solely built up of surprises. We can still create suspense by telling our audiences exactly what's about to transpire. We can still start at the start and end at the end. We can still strap ourselves into straightjackets. We just need to make these decisions consciously and intelligently. If we're so focused on the end that we don't care about the beginning, the audience will be so focused on the beginning that they won't care about the end.

Super joli, bravo Francis! Reste plus qu'à bosser le texte

Je crois que c'est un effet spécialement conçu pour le spectateur "lourd", à faire de façon informelle...

Pourquoi tu t'es fait avoir? C'est un genre d'arnaque?

Ce qu'en dit Cameron Francis... ça donne envie! So David just showed me this over Skype. Terrific. Very well designed. Lots of great handlings. As odd as this sounds, I think I'm going to buy one. Yes, I will continue to use Fresh Mint. But I love the no-brainer portability of this. Put it on my key chain and I'm ready to go all the time without even thinking about it. So I'll probably use this as an everyday card to impossible location. People have pointed out that Paperclipped is the same thing. Well, actually, it's not. I also use this reasoning with Fresh Mint. With FOB or Fresh Mint the card (or bill or whatever) is isolated inside of a container. While I love Paperclipped and still use it, I think having the card inside of an object and then openly removed is a little stronger. The moment of the sw**ch happens BEFORE there is any heat on the object. You are so far ahead it isn't even funny. One other thing, I know everyone is excited about being able to show the other hand empty. And, indeed, that is possible with one of the handlings. But take it from a guy who's performed Fresh Mint countless times, the is NO HEAT on the other hand. I repeat, NO HEAT. Showing the other hand empty is superfluous.

De belles cartes de visite à voir ici.

50€ + 8€ de frais de port, pour le moment. Cela passera à 60€ ensuite, à partir de février 2013.

Non, je pense que RVminem parlait de la version X-act, postée plus haut par Noas...

Exactement, pourquoi utiliser un gimmick, transporter un almanach, etc...? C'est une grosse faiblesse de la méthode. L'effet le plus pur est: une date est choisie, le mentaliste révèle le jour correspondant en moins de 3 sec, et le spectateur peut vérifier avec son smart phone (il existe des tonnes d'applis permettant de faire cela). Et si j'ai pas de smartphone je fais comment? (signé un spectateur) Eh bien tu vérifies chez toi sur Internet C'est quand-même moins suspect qu'un livre / almanach qui pourra toujours paraître truqué, car venant "du magicien".

Je sais, mais là c'est abusé. Il y a 15 jours, c'était finalisé, et rien... Super service client! PS je ne critique pas Ali en tant que personne et magicien (que j'apprécie beaucoup par ailleurs), mais sur son service client et ses "promesses" non tenues

Suite du message de Craig Petty I've just rewatched the trailer at the 2.30 mark. What you see there is the handling I spoke about. That entire sequence is totally possible with fob and it does look that clean. With that handling you remove the cover, flash it in the other hand, take out the switched card and put everything away.