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The
TRICK
BRAIN
CHAPTER EIGHTEEN
Strictly interpreted, all magical effects may be generally classified under the heading of physical anomaly or antinomy. All of the tricks and effects we do are calculated to give the impression that the ultimate reactions are exceptions or contradictions to normal physical rules or expectations.
Yet there is a definite group of tricks that particularly seem to be essentially incongruous to normal physical conditions because they are contrary to inflexible physical rules and laws.
Such a trick is The Shadow Trick. In no respect does the final effect resemble anything in any other classification. It is a demonstration of a violation of a strict physical law. Shadows of people and of material objects are left behind. Some variations of the trick provide for the ultimate vanish of the performer while his shadow is substituting for him. But this departure comes within the vanish heading exclusively, as the disappearance is accomplished through one of the vanish methods already outlined.
The principle behind this trick is simply that luminous paint becomes luminescent only where the activating light falls upon it directly. Thus, a semicircle of light, falling upon a square screen, will cause only that semicircle upon which the light has fallen to become luminescent when all lights are turned out. Therefore, when a human being is illuminated by means of a spotlight and when the disc of light falls upon such a screen, blocked out where the subject's body has blocked out the light, only the portions of the screen where the light has energized it will glow in the dark. This, then, leaves the subject's shadow showing as a dark area.
One cannot see through solid matter. A human being cannot exist with a large area of his body removed. The periscope-like arrangement which enables a person to see around a human body, but which gives the impression of seeing through it, therefore, gives the impression of a violation of a physical law in The X-Ray Illusion.
Such tricks as a living head; a live girl, approximately only six inches in height, living under water in a fish bowl; a half woman, living atop a skeleton table; a large spider with a human head for a body; or a living headless woman; and others of that type are frankly violations of physical laws. These tricks are made possible through the use of cleverly placed mirrors, by means of lenses, or through other optical means.
We may include in this classification also the rigid pencil that seems to become flexible, the dollar bill that breaks a pencil, the stretching rope or the stretching human, and a large group of seeming contradictions.
The pencil that becomes flexible is an optical illusion. The paper bill that breaks the pencil depends upon the intervention of a secretly extended forefinger.
Within this group, also, should be included The Popcorn Trick and The Afghan Bands and others of that ilk.
Perhaps, should the day arrive when a large number of similar effects, now grouped in this miscellaneous section, are available, new effect classifications should be created for them. But at present each of these tricks seems to be a separate ultimate effect in itself.
But there are many other physical laws that may be violated. One could have water which would burn, fire which would freeze, large objects which are small, hard objects which are soft, heavy objects which are light, illumination which does not illuminate, resistance to drowning, life without breath, and ultimate effects almost without limit. But in each case, general methods cannot be enumerated because the subject, the solution and ultimate effect under this classification seem to be tied together unavoidably for the one result.
Caryl Fleming used to perform a routine that he adapted from an issue of THE MAGIC WAND. It was called The Flight of Time. A full description of it appeared in the December 1940 issue of GENII. In this routine he called attention to the time of day and then performed several distinct acts that he listed on a slate. The acts included such things as tying three knots in a ribbon, putting three golf balls in a hat and taking one out, cutting a rope and placing it in a bag, and pouring a quantity of water from a can. Setting the clock back, thereby figuratively turning back the flight of time, Mr. Fleming showed that the things he had done were then undone. The ribbon was without the knots. Three golf balls were in the hat. The rope was uncut. And the water was back in the can. As a matter of fact, even the writing he had placed upon the slate was not there.
This effect, that of turning back time, is a good example of what might be developed in this classification, if sufficient attention and ingenuity were devoted to the problem.
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