Max Maven - Eye-Cue, Ultimate Magic eBooks Collection
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//-->separate units. One square is placed aside,undisplayed. The performer states that thisdiscarded piece bears one of the matchingdrawings. The other nine designs are shown, anda spectator invited to try his/her intuitive effortstoward guessing which of the remaining ninemates the one placed aside.Of course, the spectatoris successful, bringing the routine to a happyconclusion.EYE-CUEPhil GoldsteinPeter Warlock's "A Matter Of Design",from the Willane "Methods For Miracles" series,isa superb effect.Inthat routine, the performerpredicts which of several designs is freely chosenby a participant.The method makes use of a predictivedrawing made with permanent ink, modified withextra lines drawn with "It's A Pip" fluid. Thementalist is thus able to erase various parts ofthe prediction, to alter that picture so as toduplicate any of the shown designs.The effect has been re-invented many times.Recently, versions have made use of commerciallyavailable erasable marking pens (for example,Velleda) in place of the pip fluid.There is one small problem with the Warlockroutine: in order to have any of the designscovered by the one prediction, it is necessary tomake all of the designs somewhat similar. Here,I will describe a new presentational dressingwhich offers a logical reason as to why thedesigns are similar, thus turning a flaw into apresentational advantage. Too, the version about tobedetailed alters the effect from a demonstrationof the performer's precognitive abilities into a testof the spectator's intuitional skills.The mentalist asks whether his spectatorsare familiar with a common puzzle, wherein agroup of deliberately similar designs are shown.Two of them are identical; the challenge is tolocate the matching pair, in as little time aspossible.The audience will, for the most part, befamiliar with this type of puzzle. The performergoes on to discuss the nature of the game; thatit is a test of visual observation skills, and thatdifferent players will take very different legnthsof time in spotting the matching designs. He doeson to explain that he has come up with a newapproach to this type of puzzle - which depends}JU:S:SIUlt::.You will need ten squares of card. The sizeis determined purely by your own desires.Obviously, the larger the audience you intendto be working for, the larger the squares shouldbe.For informal close-up performing, they canbepocket-size.The squares must be laminated with amaterial appropriate for use with erasableink. (Stationery shops can supply adhesive-backed sheets of white laminate, perfect~orthis.).-The designs I use for this test are not thesame asforthe Warlock routine, although thosewill serve well. They are shown in the illustration.These designs are drawn onto the squares with apermanent ink pen. Now, on a tenth square, usethe permanent market to draw the basic cross-and-circle design shown in figure B. Then, using anerasable marker, add the four lines indicated bythe broken lines in figure C:You will note that, with a maximum of twoerasures, your tenth drawing can be made tomatch any of the nine options.The audience will, for the most part, befamiliar with this type of puzzle. The performergoes on to discuss the nature of the game; thatit is a test of visual observation skills, and thatdifferent players will take very different legnthsof time in spotting the matching designs. He doeson to explain that he has come up with a newapproach to this type of puzzle-- which dependsnot on one's powers of visual observation, butrather on intuitive abilities.
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