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The
TRICK
BRAIN
CHAPTER TWENTY-THREE
The thought transference effect is that in which the mental activity of one person is apparently projected to another. It is essential that there be two operators. One is the transmitter and the other is the receiver.
Most of the effects of this nature are made possible through some type of code signaling. It is essential, of course, that the system of signaling is quite subtle and not likely to be recognized as such. Usually the code is one that may be heard by the receiver, although there are systems based on optical clues. Some performers have used Systems of communication that may be felt.
The type of code is largely regulated by the general circumstances under which the performers expect to operate. Thus, in theaters where good acoustical conditions prevail, most of the codes are based on sound that may be heard by the receiver. Usually the sounds used are words or syllables which in themselves would seem quite natural. But actually the transmitter and the receiver communicate in a sort of verbal shorthand.
In addition, most experienced performers have memorized huge lists of classified ideas such as actions, places, numbers, objects, metals and the like. Many of these lists are sub-classified as, for instance, jewelry. And under this sub-classification may be makes of watches, kinds of jewels, kinds of metal, types of decoration and so on.
Also, in connection with these lists are memorized routines of successive actions or ideas into which the transmitter may launch at a given signal. Thus, with the routine cued the receiver knows exactly what will be done in rotation. One example of this type of application is shown when the transmitter may stop taking things offered by the spectator but instead steps along, touching various articles rapidly and asking his receiver what they are. The receiver merely repeats in rotation a series of articles previously memorized by both performers.
One very clever variation of the spoken code is that in which the transmitter never asks the receiver a question directly. He asks the spectators themselves to ask the receiver. But the code system is used anyway. The receiver gets his cues from the words spoken by the assistant to the spectators.
Many performers have used microphones concealed upon the person of the transmitter. The receiver's information comes from the conversation between the transmitter and the spectator. Telephone or radio may transmit it.
One code was entirely silent to all appearances, yet it was based on audible signaling. Both performers could mentally count In synchronized rhythm. The clues, giving the beginnings and ends of certain number periods, thus conveying the necessary information, were taps and scratches on a blackboard or slate that the transmitter was using.
But many codes are entirely silent. In this case the clues may be conveyed by movements of the hands, the position of the hands in relation to the body, the posture of the body, the number of fingers extended and how shown, the movement of the eyes and in many other ways.
Particularly in more intimate performances some codes are based on the positions of several articles placed on the top of a table or at some other agreed place.
Codes have been arranged which have depended entirely upon signals that could be felt, such as an invisible thread connection that would convey secret tugs. Or in the use of a rubber bulb arrangement similar to the familiar heart palpitators or plate lifters. There is a great variety of ways in which signals may be received through the sense of feeling.
In specialized types of acts the memorized lists are greatly reduced in numbers. This is true where the act is limited to the receiver playing musical selections mentally selected by the spectators and told to the transmitter. This is also true where the selection is limited to the naming of cards, or of dates, or anything similar where there is only one classification. All the transmitter has to do is to signal the key for the list to use and the number of the specific choice on that list.
Some types of tricks require only the use of a key signal. This is in the type of trick where the transmitter gives a list of objects, among which is that chosen mentally, and the receiver must select the spectator's particular choice. As mentioned in another section, the use of a certain class of object in definite relation to the selection keys the desired one.
But these keys need not be spoken. Any type of noise may be used so long as the receiver will recognize it as the key. Even an action or a position may be utilized as the key. Or a particular succession of words or actions or classification or postures, previously agreed upon, may be utilized.
As in the memorized routine mentioned above, the transmitter may resort to forcing. Where he entered upon the succession of objects, disregarding the spectator's wishes, the transmitter really forced his choice.
But conventional forcing methods may be utilized, as well. A forced card, agreed upon with the receiver in advance, will give the impression that the transmitter has projected the thought to the receiver.
Forcing may be accomplished by timing, so that the spectator believes he obtains a free choice but actually he has taken the transmitter's choice. Forcing may be accomplished by interpretation to suit the transmitter's desires, as when the spectator is asked to point to two packets of cards but is not told whether the packets will be used or discarded until after the performer knows which packets have been selected.
Forcing may be accomplished when the spectator is apparently given a free choice of several alternatives, but actually all of the alternatives are the same. This is demonstrated in the use of forcing packs where all cards are alike, in the use of change bags, change trays and other double compartment devices.
Forcing may be accomplished by exchanging the spectator's choice for the magician's choice through sleight or mechanical means.
Forcing may be influenced by psychological suggestion, as in arrangement, choice of numbers, choice of colors or other.
The appearance of thought projection may be obtained through the use of a confederate who influences the spectators' choice, deliberately selects a previously agreed upon choice, secretly, conveys the desired information to the receiver, or who otherwise assists.
In some tricks the spectator's choice may be conveyed by the transmitter secretly writing the information, perhaps with a thumb or nail writer, on some unsuspicious accessory.
One of the most frequently used keys is in sending a key person, a key object, or even using a key name in inquiring as to the receiver's impression of the transmitted thought.
Another device frequently useful in this type of effect is for the receiver to commit himself, such as drawing a card without showing it, and then having the spectator's choice announced aloud. Immediately the announcement is made the receiver exchanges his first commitment for the proper one. In this same category would be the use of a nail or thumb writer. The transmitter "concentrates" whereupon the receiver laboriously writes the projected thought upon a card. Actually nothing is written upon the card until the projected thought is made known. Then, with the thumb writer, the receiver secretly writes to correspond. This idea could be elaborated. The receiver retires to another room, or even be in another part of town. The transmitter projects his thought-in this case the transmitter may be a spectator. The receiver's impression is delivered to his assistant, written on a card and sealed in an envelope. Before the envelope is open, or before the receiver's impression is shown, the spectator-transmitter makes known his projected thought. At this the assistant goes to work secretly with the stylus, if carbon paper is used inside the envelope, or with the nail writer, if the card is taken from the envelope. Finally, the receiver's impression is shown as being identical with the spectator's projection.
The nearest thing to actual thought transmission is contact mind reading, or muscle reading, as mentioned in another section. The spectator acts as the transmitter. Usually he is in physical contact with the receiver, although some operators dispense with any contact. Subconsciously, through psychological impulses and movements, frequently quite subtle, but nevertheless unmistakable to the trained receiver, the spectator leads the receiver along the path of his desires. In case of contact, the impulses are physical pressures and movements. Where there is no contact the clues are through movements of the feet, inclinations of the body, the breathing, slight movements of the head and the eyes and other involuntary indications.
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