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The
TRICK
BRAIN
CHAPTER ONE

In SHOWMANSHIP FOR MAGICIANS I took the position that most of the secrets of the tricks we perform are quite simple. I really feel this to be true. Surely, in a world that produces the miracles of modern chemistry, the impossibilities of radio and radar, the genuine and important levitations of modern aeronautics, the black cord elastic which pulls the vanishing handkerchief from sight cannot be seriously considered as something profound or difficult to understand.

But a piecemeal dismemberment of each of the thousands of tricks in the repertoire of magic is impossible. It is impossible physically and quite definitely would result in the most gigantic triviality the world has ever witnessed. And it has had some luscious examples, even in my relatively brief time.

Far better and much more understandable would be the reduction of these thousands of tricks to a few broad classifications as to effects. In this form, a generalized discussion as to method might become of some practical value.

Our undertaking is simplified immediately when we discover that, while there are thousands of tricks, there are but few effects. A painstaking survey of a library of magic books and catalogues will show a great variety of individual tricks. But they actually classify into a small group of basic accomplishments.

Perhaps it might be well to define just what the terms trick and effect mean.

Immediately I must take issue with Maskelyne and Devant in their interpretation of the word trick in OUR MAGIC. They make it clear in that work that they consider trick to mean the secret means of accomplishing a magical effect, the method, not the feat itself.

But general usage disputes this view—general usage and even dictionary terms. Trick usually means an individual feat of a magician. It means a particular and individual feat such as The Box Trick. The Needle Trick, The Ring Trick. It not only includes the general ultimate effect but also the specific identifying objects with which the effect is accomplished.

Therefore, throughout this work I shall use the word trick to mean the individual feat as accomplished with specific objects.

On the other hand, where I refer to effect it must be understood that I mean the more general ultimate accomplishment without any reference to the objects with which it is done. In this way I shall be referring generally to such objectives as vanishes, penetrations, restorations and so on.

As an example: The trick known as The Rod Through Glass or Clear Through, as it was called when Massey first explained it in the initial issue of THE SEVEN CIRCLES, is a penetration effect.

The Egg Bag is a trick. It is a combination effect which includes vanishes, productions, transpositions and, in some special routines, transformations.

The first attempt at a general classification of effects, of which I am aware, was made by T. Page Wright in the May, 1924, issue of THE SPHINX. Although Mr. Wright's list was a sorting of card tricks to their basic components, whereas the present purpose is to treat with all magic effects generally, it will be of interest, I am certain, as a forerunner of what is to follow in this work.

CARD EFFECTS CLASSIFIED
By T. Page Wright

  1. Production
  2. Vanish
  3. Transformation
  4. Manipulative
  5. Memorization
  6. Guessing problems
  7. Transposition
  8. Location and revelation
  9. Productions from cards (as water)
  10. Indestructible card
  11. Prophetic
  12. Arranging of cards (as spellers, dealing hands, etc.)
  13. Naming cards
  14. Discovery of number selected or moved

Under the heading of transformations Mr. Wright included changes in the identity of the cards, changes of cards to other objects or the reverse, and changes in the shape or the condition of the card or cards.

The manipulative heading included both genuine feats of skill and impossibilities like balancing a card on a table.

Several sub-heads appeared under the location and revelation divisions.

Some months after the appearance of the Wright list, I started my own outline. But my list was one covering magic generally and not the card category alone. At that time my list included fifteen divisions which were later increased to include the list appearing later in this work.

Later, in 1932, S. H. Sharpe included a general list in NEO MAGIC. This was the first published list to come to my attention, covering magic generally. Mr. Sharpe's list follows:

ANALYSIS OF CONJURING FEATS
By S. H. Sharpe

  1. Productions (From not being to being)
  2. Disappearances (From being to not being)
  3. Transformations (From being in this way to being in that)
  4. Transpositions (From being here to being there)
  5. Natural science laws defied
    1. Anti-gravity
    2. Magical animation
    3. Magical control
    4. Matter Through Matter
    5. Mu1ti-position
    6. Restoration
    7. Invulnerability
    8. Rapid germination
  6. Mental phenomena
    1. Prediction
    2. Divination
    3. Clairvoyance
    4. Telepathy or thought transference
    5. Hypnotism
    6. Memorization
    7. Lightning calculations

With the eight subdivisions under the general heading of natural science laws defied, and the seven under the mental heading, Mr. Sharpe's list includes nineteen general divisions.

Some years ago, while visiting Percy Abbott's plant at Colon, Michigan, I had a long discussion in this connection with Winston Freer. Later, becoming interested in the subject, Mr. Freer developed his own list independently and published it in THE LlNK!NG RING. His list differed materially from the Sharpe outline.

SEVENTEEN FUNDAMENTAL EFFECTS
By Winston Freer

  1. Production
  2. Vanish
  3. Change in position
  4. Change in material
  5. Change in form
  6. Change in color
  7. Change in size
  8. Change in temperature
  9. Change in weight
  10. Magnetism
  11. Levitation
  12. Penetration
  13. Restoration
  14. Remote control
  15. Sympathy
  16. Divination (Comprising all feats of mental magic)
  17. Prediction

In analyzing a matter as complex as this it is not surprising that there is considerable diversity of opinion as to just what these divisions of general effects should be. So to be consistent, I am submitting here my own list which again is at variance with those outlined by others.

The work of making the necessary research in order to evolve such an outline is tremendous. Literally thousands of tricks, from explanations in magic books to the listings in numerous catalogues, were carefully scrutinized and weighed. After several years' consideration I am now submitting the outline of basic effects as I have analyzed the problem. While it is possible that some distinctly different effects may have escaped the search, I am firmly convinced that more than ninety-nine per cent of all tricks will fall within these classifications.

For that reason this present list is the one which shall prevail in this book.

THE NINETEEN BASIC EFFECTS
by Dariel Fitzkee

  1. Production (Appearance, creation, multiplication)
  2. Vanish (Disappearance, obliteration)
  3. Transposition (Change in location)
  4. Transformation (Change in appearance. character or identity)
  5. Penetration (One solid through another)
  6. Restoration (Making the destroyed whole)
  7. Animation (Movement imparted to the inanimate)
  8. Anti-Gravity (Levitation and change in weight)
  9. Attraction (Mysterious adhesion)
  10. Sympathetic Reaction (Sympathetic response)
  11. Invulnerability (Injury proof)
  12. Physical Anomaly (Contradictions, abnormalities, freaks)
  13. Spectator Failure (Magicians' challenge)
  14. Control (Mind over the inanimate)
  15. Identification (Specific discovery)
  16. Thought Reading (Mental perception, mind reading)
  17. Thought Transmission (Thought projection and transference)
  18. Prediction (Foretelling the future)
  19. Extra-Sensory Perception (Unusual perception, other than mind)

In looking over this list it may be noticed that the effects start with physical accomplishments, gradually change to those of mental control and culminate in a number of divisions which are purely in the realm of mental magic. The first twelve belong to the physical group. The next two following carry a suggestion of mind dominance. And the last five are entirely mental in character.

A general explanation of the individual groups might be advisable.

Effect No. 1—PRODUCTION. The production of a person or an object where nothing appeared before. Something is caused to come into view without apparent clue as to the source.
It may be suggested that the above list of effects does not include a separate classification for tricks of inexhaustible supply such as cigarettes from the air, repeated card productions. Neither does it include multiplying effects such as the billiard balls, or rapid germination.

This was considered. But because effects of inexhaustible supply and multiplication are essentially repetitions of the basic effect of production, appearance or creation, the cumulative result was discarded as a fundamental. And I believe rapid germination is but another way of saying magical creation, which is what this classification is.

It has been the purpose in planning this work to reduce all general accomplishments to their lowest common denominators.

Effect No. 2—VANISH. The causing of something to pass from sight by apparently unnatural means.
Obviously, this is the reverse of production. The reverse of inexhaustible supply would be, of course, infinite capacity. My research disclosed very few tricks in this category.

Viewing multiplication from the position of its reverse, multiple vanish, which is simply a series of vanishes, makes the decision to treat multiplication as a series of productions seem definitely more valid.

Effect No. 3—TRANSPOSITION, Invisible change in location of a person or an object from one place to another.
This effect has to do with a change in position. The object might vanish from the hand and reappear upon a nearby table. Or it might change place from one cylinder to another.

Reasoning basically, of course, the effect actually is a combination of a vanish and a later production elsewhere. Yet I believe the audience views this as a single effect. To the spectator, the basis would be movement.

Effect No. 4—TRANSFORMATION. A person or an object changes identity, color, size, shape, character, etc.
Transformations and transpositions are closely allied. In a manner similar to transposition, this division is allied with production and vanish. However, in this classification the change relates to appearance or character, not to position, as is true of transposition.

Effect No. 5—PENETRATION. The solid matter of one person or object at thing penetrates the solid matter of another person, object or thing.
The penetration, of course, is made apparently without altering the penetrated subject which should show no place for passage.

The penetration may be partial or complete.

Effect No. 6—RESTORATION. The subject of the effect is wholly or partially destroyed and subsequently restored to its original condition.
The restored object may or may not carry an identifying mark placed upon it prior to destruction.

Effect No. 7—ANIMATION. An inanimate object is mysteriously endowed with movement.
This is the apparent self-movement or supernatural movement of an insensate object. Many of the pseudo spiritualistic tricks belong in this category. The animation may be done under conditions that would insulate the object from outside assistance. Or the insulation may be dispensed with. The animation may be in the form of visible movement or it may be in the form of a result of unseen movement.

Effect No. 8—ANTI-GRAVITY. The person or thing reacts contrary to the law's of gravity.
Actually this effect comes very close in its external appearance to the following effect, Attraction, where magnetic suspension is suggested. Careful consideration led me to conclude that the spectator, however, would view the two effects differently. In one case, the subject would seem to float in air. In the other case, the subject would seem to be suspended by some magnetic-like affinity.

A suggestion was made that this section be broadened to include any effect that seems to be in defiance of natural law. But in analyzing this situation I concluded that this would be too broad, as the entire repertoire of magic would, or could, come under this heading

It should be borne in mind that this class of effect includes not only those tricks in which something or someone rises and floats, but also those having to do with weight. Thus, The Houdin Light and Heavy Chest would belong here.

Effect No. 9—ATTRACTION. Through some mysterious power the magician becomes, or causes something or someone else to become endowed with a power resembling magnetism.
This may be a general power of attraction without discrimination as to person or thing. Or it may be selective, being only effective for certain materials or for some definite object.

Effect No 10—SYMPATHETIC REACTION. A reaction of two or more persons, objects or persons and objects, show sympathetic accord in harmony one with the other.
Here two or more persons think of, or do, the same things at the same time. Or two disconnected objects may react as if connected, as in The Mora Wands Or whatever happens to one subject happens also, by apparent sympathetic response to the sympathetic subject, as in The Sympathetic Silks. The many You Do As I Do tricks come under this division.

Effect No. 11—INVULNERABILITY. Demonstrations of resistance or proof against injury.
This section includes exhibitions of fire eating, walking in red hot coals, walking on swords, lying on beds of spikes, rolling in barrels of broken glass, resistance to poisons and others of similar ilk. Whatever trick purports to demonstrate any type of invulnerability to forces which would ordinarily destroy the subject should come within this division.

Effect No. 12—PHYSICAL ANOMALY. Exceptions or contradictions to normal physical rules or reactions.
Under this identification come such tricks as Walking Away From His Shadow, The Headless Woman, The Spider, removing the thumb, stretching the neck and so on. This includes all contradictions, abnormalities and freaks, antinomies and other incongruities denying natural physical laws.

Effect No. 13—SPECTATOR FAILURE. This includes all tricks where a spectator is unable to accomplish some apparently simple objective, implying the intervention of some mysterious power of the magician.
While it is true that the failure of the spectator may be caused by effects otherwise catalogued, such as vanishes, transpositions, transformations, et cetera, the essential is that the spectator fails to accomplish something because of an implied inability caused by the performer.

Effect No. 14—CONTROL. All effects where the mind of the performer seems to dominate, whether the subject be animate or inanimate.
However, hypnotism, being actually a separate field not normally included in magic, is not included here as it is the term which usually identifies mental control over a person, although this does not necessarily have to be the case.

Many effects, such as certain presentations of The Spirit Clock, The Rapping Hand and other tricks come under this specialized heading, under circumstances where the performer seems to exercise control.

Effect No 15—IDENTIFICATION. Here discovery of an identity, regardless of the met hod of disclosure, is essential.
The discovery of a chosen card, whether it be discovered as the result of a count-down, spell-down, reversal, simple extraction or other method, is definitely within this classification. It is particularly important in card work.

But discovery may be applied to anything or anyone. Picking out the hidden "murderer" from among the spectators, as in one contact mind-reading routine, may belong to this division, if the emphasis is placed upon the revealing of the identity instead of interpreting the "mental" directions of the transmitter.

Also included here are the various so-called divination tricks which depend upon the revelation of a secretly selected colored crayon, tag, pencil, rocket or other object.

This discovery may be made by the performer or by a spectator.

Effect No. 16—THOUGHT READING. In this division the essential is that the performer apparently reads the thought of another.
This should be distinguished from the next classification with emphasis upon the performer taking the thought from another by active effort on his part only.

The thought may be written, spoken or known only to the spectator himself. The performer may disclose his knowledge by writing it, speaking it or by doing something suggested by the spectator's thought. The disclosure may be made instantly or after the passage of an interval of time.

Effect No. 17—THOUGHT TRANSMISSION. The essential is the projection of thought. In the former effect, another's mind is "read." In this effect, one person projects his thought to another.
At one time I considered including both effects, 16 and 17, under one grouping, but the more I weighed the matter the more convinced I became that the spectator's interpretation of the two effects is entirely different.

Of course, thought transmission need not only include projection from a spectator to a performer. In fact, most demonstrations are similar to that given by the Ushers. Here one performer, working the audience, appears to project his thought to another performer who is on the stage.

I do not believe that the spectator gets the impression that Mrs. Usher is reading Mr. Usher's mind. Rather, it seems to me the spectator feels that Mr. Usher is transmitting his thought to Mrs. Usher.

Effect No. 18—PREDICTION. This includes all tricks where the future is foretold.
Essential is that the performer—or even a spectator—commits himself as to the future behavior of someone else. The prediction may be uttered confidentially to a spectator. Or it may be written, or otherwise indicated in advance. It may have to do with future actions, thoughts or choices.

Effect No. 19—EXTRA-SENSORY PERCEPTION. This classification is intended to include all types of abnormal perception other than through mental communication.
Magic has many effects wherein people or objects are described through "seeing with the fingertips," "smelling out the identity," "feeling the spots on a card," and other apparent impossibilities.

Effect No. 20—SKILL. (Not included in list.)
This is not essentially a magical effect. A sensational demonstration of phenomenal memory conveys an impression of special training. So also do various feats of skill exhibited by performers, such as card jugglery, coin rolls, gambling demonstrations and such tricks as the eggs and glasses.

Even if the trick—and here I mean trick of skill as distinguished from trick of magic—as I started to say, even if the trick is done with some secret apparatus, the impression given to the spectator is nevertheless one of special training, not one of mystery as to the method of accomplishment.
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