Nilai-nilai pancasila, sebagaimana dinyatakan dalam ketetapan MPRS No. XX/MPRS/1966, pada hakikatnya adalah pandangan hidup, kesadaran, dan cita hukum serta cita-cita moral luhur yang meliputi suasana kejiwaan, serta watak bangsa Indonesia yang pada tanggal 18 agustus 1945 telah memurnikan dan dipadatkan oleh Panitia Persiapan Kemerdekaan Indonesia (PPKIP menjadi dasar Negara Republik Indonesia).
Nilai-nilai pancasila memiliki sifat objektif dan subjektif. Objektif berarti sesuai dengan objeknya, umum, dan universal, yang dapat dijelaskan sebagai berikut:
a. Rumusan dari sila-sila Pancasila itu sendiri menunjukkan adanya sifat-sifat yang abstrak, umum, dan universal.
b. Inti dari nilai-nilai Pancasila akan tetap ada sepanjang masa dalam kehidupan bangsa Indonesia dan mungkin juga pada bangsa lain, baik dalam adat kebiasaan, kebudayaan, kenegaraan, maupun dalam hidup keagamaan, dan lain-lainnya.
c. Pancasila yang terkandung dalam Pembukaan UUD 1945, menurut ilmu hukum memenuhi syarat sebagai pokok norma (kaidah) fundamental Negara, tidak dapat diubah oleh orang atau lembaga manapun kecuali oleh pembentuk Negara, in casu PPKI, yang sekarang sudah tidak ada lagi. Ini berarti nilai-nilai Pancasila akan abadi dan objektif.
d. Ketetapan MPR No. III/MPR/2000 yang menggantikan Ketetapan MPRS No. XX/MPRS/1966 menegaskan bahwa Pancasila yang terkandung dalam Pembukaan UUD 1945 adalah sumber hukum dasar nasional. Walaupun tidak secara rinci disebutkan apa yang dimaksud dengan sumber hukum dasar nasional itu, dapat disimpulkan bahwa Ketetapan MPR No. III/MPR/2000 tetap memberi tempat yang tinggi pada Pembukaan UUD 1945. Artinya, Pembukaan UUD 1945 secara filsafat tidak mungkin dapat diubah termasuk oleh MPR hasil Pemili karena mengubah Pembukaan UUD 1945 berarti membubarkan Negara hasil Proklamasi 17 Agustus 1945.
Nilai-nilai pancasila yang bersifat subjektif, dalam arti keberadaan nilai-nilai tergantung pada bangsa Indonesia sendiri. Uraiannya sebagai berikut:
a. Nilai-nilai Pancasila timbul dari bangsa Indonesia, sebagai hasil penilaian dan pemikiran filsafat bangsa Indonesia.
b. Nilai-nilai Pancasila merupakan filsafat (pandangan hidup) bangsa Indonesia yang paling sesuai, yang diyakini oleh bangsa Indonesia sebagai petunjuk yang baik, benar, adil, dan bijaksana dalam kehidupan bermasyarakat, berbangsa, dan bernegara.
c. Nilai-nilai Pancasila mengandung keempat macam nilai kerohaniaan, yang manifestasinya sesuai dengan budi nurani bangsa Indonesia.
Selasa, 12 April 2011
Minggu, 27 Maret 2011
TIPS NGEDOWNLOAD MUDAH
Cuma mo sharing pengalaman aja... ini mengenai cara download file video yang ada di You Tube, tau khan YouTube situs paling populer dimana orang bisa download and upload file-file video. Mungkin banyak orang yang biasa men-dowload file-file video dari YouTube baik menggunakan software maupun cara lainnya. Begitu juga saya, ketika santer terdengar berita tentang adanya video Marshanda Stress yang beredar di YouTube, lantas saja hati saya tergerak untuk mencoba mendownload file video tersebut dengan tujuan sekedar ingin tahu...
Setelah saya search di YouTube dengan keyword Marshanda, muncullah beberapa video Marshanda yang katanya lagi stress itu. Untuk mendownloadnya pertama saya menggunakan software free youtube download dari dvdvideosoft.com dan seperti biasa, karena file yang akan di download agak besar, dan saya menggunakan koneksi internet dengan flash dari telkomsel, maka file gagal di download. Berkali-kali di coba hasilnya gagal, dan gagal...
Akhirnya saya mencoba bertanya kepada mbah gugel tentang cara mendownload file Youtube... dan hasilnya kebanyakan menggunakan software yang harus di unduh yang file-nya lumayan besar, tentu saja akan lama jika saya harus men-download dengan telkomsel flash yang super lemot... hiks :(
Saya coba lagi mencari dengan mesin pencari nomer satu di dunia, dan saya menemukan sebuah situs yang bisa mendownload file Youtube tanpa menginstall software, dan tentunya gratis...tis.. Free Youtube Files Download, dengan site ini, kita tinggal memasukkan url file Youtube yang hendak kita download, kemudian tentukan bentuk file output yang kita inginkan, apakah dalam bentuk flv, mp4 atau 3gp dan tentunya ini terserah kita. Saya telah mencoba dengan file output flv, dan berhasil, begitu juga dalam bentuk 3gp, namun untuk file 3gp masih ada masalah pada saat diputar di HP, ketika di putar, ternyata hanya terlihat gambar saja tanpa ada suara, sedangkan file dalam bentuk flv, diputar dengan jetaudio hasilnya bagus.
Cara mendownload sebagai berikut, setelah membuka situs Free Youtube Files Download :
1. Masukkan url file yang akan di download
2. Pileh file output, flv, mp4, atau 3gp
3. Klik Submit
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1. Masukkan url file yang akan di download
2. Pileh file output, flv, mp4, atau 3gp
3. Klik Submit
4. Muncul Gambar
5. Klik Download
Mudah khan... ya udah silakan dilanjut dech sendiri nge-download file youtube-nya... ssssst.. tapi jangan download video porno yach, inget bulan puasa... hehehe...
Minggu, 20 Maret 2011
STRATEGI MENGHITUNG CEPAT
Strategi ini membuat semua strategi kami yang lain jauh lebih mudah untuk memahami dan beroperasi. DistributifProperti Bilangan hanyalah pemahaman angka. Mari kita pergi melalui beberapa jelashubungan angka.3,267Nomor ini memiliki empat digit. Mengetahui nilai dari kolom yang setiap nomor jatuh ke sangatpenting. Mari kita pergi melalui penjelasan ini.Mengacu pada nomor di atas, kita tahu bahwa jumlah 3, ada di kolom ribuan, mewakilitiga ribu. Nomor 2, jatuh ke dalam kolom ratusan, sehingga dua ratus. Jumlah6, jatuh ke dalam kolom puluhan membuatnya enam puluh, dan 7 angka terakhir, jatuh ke dalam kolom yang membuatnyatujuh.Mengetahui nilai setiap kolom di mana jatuhnya angka adalah sangat penting dalam semua kitastrategi.Kami akan menganggap Anda tahu ini sekarang dan melanjutkan.Lihatlah masalah berikut:24 x 99 =?Pada awalnya Anda mungkin berpikir, "Beri aku kalkulator". Tidak ada yang salah dengan pemikiran ini, tetapiTujuan keseluruhan dari program ini adalah untuk mengajarkan strategi yang akan menjauhkan harus menggunakankalkulator Anda 'beli' dan menggunakan kalkulator Anda dilahirkan dengan, otak Anda.Lihat kembali masalah di atas. Kedengarannya sulit tapi mari kita melihat masalah dengan cara lain. Bukankah 99nyata dekat dengan 100? Bagaimana jika kita menggunakan strategi ini, 99 adalah benar-benar 100 minus 1 bukan? Jadi sekarang kita memiliki:24x100 minus 24x1 =?Mendapatkan jawaban atas 24x100 hanya mengambil menambahkan dua angka nol ke nomor pertama yang memberi kita 2.400. Sekarang24x1 mudah, itu 24. Jadi sekarang kita telah 2,400-24. Hal ini masih bisa agak sulit untuk bekerja strategi inimental, tapi mari kita coba pendekatan yang sedikit berbeda.Mari kita mengkonversi '2, 400 'untuk $ 24,00 dan '24' untuk, 24 persen. Bukankah ini seperti memiliki $ 24,00 minus hampir, 25 sen? Yakinitu. Setiap analogi dapat Anda gunakan untuk membuat matematika lebih mudah harus digunakan.Sekarang $ 24,00 minus, 25 persen akan memberi kita $ 23,75 tapi don 't melupakan penny Anda tambahkan ke, 24 sen untukputaran ke seperempat, sehingga kurangi sen kembali keluar. (, 01 persen) dan Anda mendapatkan $ 23,76. Oleh karena itu, kamiJawabannya adalah 2.376.
Hal ini mungkin tampak seperti jalan panjang sekitar untuk mendapatkan jawaban tapi dengan mempraktekkan strategi ini anda akan dapatuntuk melakukan jenis masalah yang sama di kepala Anda dengan empat, tiga nomor digit seperti:Sekarang 100 adalah sejumlah besar untuk membiasakan diri dengan. Anda dapat menggunakannya dalam manipulasi mental banyak.Selama Anda ingat bahwa separuh dari 100 adalah 50 dan setengah dari 50 adalah 25, Anda dapat bekerja banyak masalah dalamkepala anda sangat cepat.
Hal ini mungkin tampak seperti jalan panjang sekitar untuk mendapatkan jawaban tapi dengan mempraktekkan strategi ini anda akan dapatuntuk melakukan jenis masalah yang sama di kepala Anda dengan empat, tiga nomor digit seperti:Sekarang 100 adalah sejumlah besar untuk membiasakan diri dengan. Anda dapat menggunakannya dalam manipulasi mental banyak.Selama Anda ingat bahwa separuh dari 100 adalah 50 dan setengah dari 50 adalah 25, Anda dapat bekerja banyak masalah dalamkepala anda sangat cepat.
Selasa, 28 Desember 2010
history of magic
The term "magic" is etymologically derived from the Latin word magi, a term that was used to refer to Zoroastrians. Performances we would now recognize as conjuring have probably been practiced throughout history. The same level of ingenuity that was used to produce famous ancient deceptions such as the Trojan Horse would also have been used for entertainment, or at least for cheating in money games, since time immemorial. They were also used by various religions from times ancient, and were even known as far back as the early 17th century to be used to frighten uneducated populi. However, the profession of the illusionist gained strength only in the eighteenth century, and has enjoyed several popular vogues.
In 1584, Reginald Scot published The Discoverie of Witchcraft. It was written in an attempt to show that witches did not exist, by exposing how (apparently miraculous) feats of magic were done[3]. The book is often deemed the first textbook about conjuring. All obtainable copies were burned on the accession of James I in 1603 and those remaining are now rare. It began to reappear in print in 1651.
Jean Eugène Robert-Houdin, the first modern magician
From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much to Jean Eugène Robert-Houdin (1805–1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view.
The model for the look of a 'typical' magician—a man with wavy hair,a top hat,a goatee, and a tailcoat—was Alexander Herrmann (February 10, 1844 – December 17, 1896), also known as Herrmann the Great. Herrmann was a French magician and was part of the Herrmann family name that is the "first-family of magic". Those who witnessed Herrmann the Great perform considered him the greatest magician they ever saw.
The Conjurer, 1475-1480, by Hieronymus Bosch. Note that the man in the back row is stealing another man's purse. He is also applying misdirection by looking up at the sky to misdirect the audience from his actions. The artist has even misdirected us from the thief, because we are drawn to the magician.
The escapologist and magician Harry Houdini took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on what became known after his death as escapology. The son of a Hungarian rabbi, Houdini was genuinely skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's show business savvy was great as well as his performance skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania.
As a form of entertainment, magic easily moved from theatrical venues to television specials, which opened up new opportunities for deceptions, and brought stage magic to huge audiences. Famous magicians of the 20th century included Okito, Alexander, Harry Blackstone Sr., Harry Blackstone Jr., Howard Thurston, Theodore Annemann, Cardini, Joseph Dunninger, Tommy Wonder, Siegfried & Roy, and Doug Henning. Popular 20th and 21st century magicians include David Copperfield, Lance Burton, James Randi, Penn and Teller, David Blaine, and Criss Angel. Most TV magicians perform before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post-production visual effects.
Many of the principles of stage magic are old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but effects seldom use mirrors today, due to the amount of installation work and transport difficulties. For example, the famous Pepper's Ghost, a stage illusion first used in 19th-century London, required a specially built theatre. Modern performers have vanished objects as large as the Taj Mahal, the Statue of Liberty, and a space shuttle, using other kinds of optical deceptions.
[edit]Categories of effects
There is discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist—for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. Some magicians today, such as Guy Hollingworth[4] and Tom Stone[5] have begun to challenge the notion that all magic effects fit into a limited number of categories. Among magicians who believe in a limited number of categories (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe), there has been disagreement as to how many different types of effects there are. Some of these are listed below.
Production: The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, a dove from a pan, or the magician him or herself, appearing in a puff of smoke on an empty stage—all of these effects are productions.
Vanish: The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation: The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration: The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation: The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
Escape: The magician (an assistant may participate, but the magician himself is by far the most common) is placed in a restraining device (i.e. handcuffs or a straitjacket) or a death trap, and escapes to safety. Examples include being put in a straitjacket and into an overflowing tank of water, and being tied up and placed in a car being sent through a car crusher.
Levitation: The magician defies gravity, either by making something float in the air, or with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion, including Asrah levitation, Balducci levitation, Looy's Sooperman, and King levitation. Much more spectacular is the apparent free flight flying illusion that is often performed by David Copperfield and more recently by Peter Marvey (who may or may not be using a technique similar to that of David Copperfield). Harry Blackstone's floating light bulb, in which the light bulb floats over the heads of the public, is also spectacular.
Penetration: The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as "solid-through-solid".
Prediction: The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate.
Many magical routines use combinations of effects. For example, in "cups and balls" a magician may use vanishes, productions, penetrations, teleportation and transformations as part of the one presentation.
[edit]Secrecy
See also: Intellectual rights to magic methods and Exposure (magic)
The purpose of a magic trick is to amuse and create a feeling of wonderment;[citation needed] the audience is generally aware that the magic is performed using trickery, and derives enjoyment from the magician's skill and cunning.[citation needed] Traditionally, magicians refuse to reveal the methods behind their tricks to the audience. Reasons for secrecy include the following:
Exposure is claimed to "kill" magic as an artform and transforms it into mere intellectual puzzles and riddles.[citation needed] It is argued that once the secret of a trick is revealed to a person, that one can no longer fully enjoy subsequent performances of that magic, as the amazement is missing.[citation needed] Sometimes the secret is so simple that the audience feels let down, and feels disappointed it was taken in so easily.[citation needed]
Keeping the secrets preserves the mystery of professional magicians.
Membership in professional magicians' organizations often requires a solemn commitment to the Magician's Oath never to reveal the secrets of magic to non-magicians. The Magician's Oath may vary, but typically takes the following or similar form:
"As a magician I promise never to reveal the secret of any illusion to a non-magician, unless that one swears to uphold the Magician's Oath in turn. I promise never to perform any illusion for any non-magician without first practicing the effect until I can perform it well enough to maintain the illusion of magic."
Once sworn to the Oath, one is considered a magician, and is expected to live up to this promise. Magicians who reveal secrets, either purposely or through insufficient practice, may find that other magicians are unwilling to teach them any more secrets.
However, it is considered permissible to reveal secrets to individuals who are determined to learn magic and become magicians. It is typically a sequential process of increasingly valuable and lesser known secrets. The secrets of almost all magical effects are available to the public through numerous books and magazines devoted to magic, available from the specialized magic trade. There are also web sites which offer videos, DVDs and instructional materials. In this sense, there are very few classical illusions left unrevealed, but this does not appear to have diminished the appeal of performances. In addition, magic is a living art, and new illusions are devised with surprising regularity. Sometimes a 'new' illusion will be built on an illusion that is old enough to have become unfamiliar.
Some magicians have taken the position that revealing the methods used in certain works of magic can enhance the appreciation of the audience for cleverness of magic. Penn and Teller frequently perform tricks using transparent props to reveal how they are done, for example, although they almost always include additional unexplained effects at the end that are made even more astonishing by the revealing props being used.
Often, what seems to be a revelation of a magical secret is merely another form of misdirection. For instance, a magician may explain to an audience member that the linking rings "have a hole in them" and hand the volunteer two unlinked rings, which the volunteer finds to have become linked as soon as he handles them. At this point the magician may shove his arm through the ring ('the hole in the ring'), proclaiming: "See? Once you know that every ring has a hole, it's easy!"
[edit]Learning magic
See also: List of magic publications
Dedication to magic can teach confidence and creativity, as well as the work ethic associated with regular practice and the responsibility that comes with devotion to an art.[6] The teaching of performance magic was once a secretive practice.[citation needed] Professional magicians were unwilling to share knowledge with anyone outside the profession[citation needed] to prevent the laity from learning their secrets. This often made it difficult for an interested apprentice to learn anything but the basics of magic. Some had strict rules against members discussing magic secrets with anyone but established magicians.
From the 1584 publication of Reginald Scot's Discoverie of Witchcraft until the end of the 19th century, only a few books were available for magicians to learn the craft, whereas today mass-market books offer a myriad titles. Videos and DVDs are a newer medium of tuition, but many of the methods found in this format are readily found in previously published books. However, they can serve as a visual demonstration.
Persons interested in learning to perform magic can join magic clubs. Here magicians, both seasoned and novitiate, can work together and help one another for mutual improvement, to learn new techniques, to discuss all aspects of magic, to perform for each other — sharing advice, encouragement, and criticism. Before a magician can join one of these clubs, they usually have to audition. The purpose is to show to the membership they are a magician and not just someone off the street wanting to discover magical secrets.
The world's largest magic organization is the International Brotherhood of Magicians; it publishes a monthly journal, The Linking Ring. The oldest organization is the Society of American Magicians, of which Houdini was a member and president for several years. In London, England, there is The Magic Circle which houses the largest magic library in Europe. Also PSYCRETS - The British Society of Mystery Entertainers, which caters specifically to mentalists, bizarrists, storytellers, readers, spiritualist performers, and other mystery entertainers. The Magic Castle in Hollywood is home to the Academy of Magical Arts.
[edit]Types of magic performance
Magic performances tend to fall into a few specialties or genres.
A mentalist on stage in a mind-reading performance, 1900
Amateur magician performing "children's magic" for a birthday party audience
Stage illusions are performed for large audiences, typically within an auditorium. This type of magic is distinguished by large-scale props, the use of assistants and often exotic animals such as elephants and tigers. Some famous stage illusionists, past and present, include Harry Blackstone, Sr., Howard Thurston, Chung Ling Soo, David Copperfield, Siegfried & Roy, and Harry Blackstone, Jr..
Platform magic (also known as cabaret magic or stand-up magic) is performed for a medium to large audience. Nightclub magic and comedy club magic are also examples of this form. The use of illusionettes (small tabletop illusions) is common. The term parlor magic is sometimes used but is considered by some to be pejorative. This genre includes the skilled manipulation of props such as billiard balls, card fans, doves, rabbits, silks, and rope. Examples of such magicians include Jeff McBride, Penn & Teller, David Abbott, Channing Pollock, Black Herman, and Fred Kaps.
Micromagic (also known as close-up magic or table magic) is performed with the audience close to the magician, sometimes even one-on-one. It usually makes use of everyday items as props, such as cards (see Card manipulation), coins (see Coin magic), and seemingly 'impromptu' effects. This may be called "table magic", particularly when performed as dinner entertainment. Ricky Jay and Lee Asher, following in the traditions of Dai Vernon, Slydini, and Max Malini, are considered among the foremost practitioners of close-up magic.
Escapology is the branch of magic that deals with escapes from confinment or restraints. Harry Houdini is a well-known example of an escape artist or escapologist.
Mentalism creates the impression in the minds of the audience that the performer possesses special powers to read thoughts, predict events, control other minds, and similar feats. It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator. Well-known mentalists of the past and present include Alexander, The Zancigs, Axel Hellstrom, Dunninger, Kreskin, Derren Brown, Guy Bavli and Banachek.
Theatrical séances simulate spiritualistic or mediumistic phenomena for theatrical effect. This genre of stage magic has been misused at times by charlatans pretending to actually be in contact with spirits.
Children's magic is performed for an audience primarily composed of children. It is typically performed at birthday parties, preschools, elementary schools, Sunday schools or libraries. This type of magic is usually comedic in nature and involves audience interaction as well as volunteer assistants.
Online magic tricks were designed to function on a computer screen. The computer essentially replaces the magician. Some online magic tricks recreate traditional card tricks and require user participation, while others, like Plato's Cursed Triangle, are based on mathematical, geometrical and/or optical illusions. One such online magic trick, called Esmeralda's Crystal Ball, became a viral phenomenon that fooled so many computer users into believing that their computer had supernatural powers, that Snopes dedicated a page to debunking the trick.
Mathemagic is a genre of stage magic that combines magic and mathematics. It is commonly used by children's magicians and mentalists.
Corporate magic or trade show magic uses magic as a communication and sales tool, as opposed to just straightforward entertainment. Corporate magicians may come from a business background and typically present at meetings, conferences and product launches. They run workshops and can sometimes be found at trade shows, where their patter and illusions enhance an entertaining presentation of the products offered by their corporate sponsors. Pioneer performers in this arena include Eddie Tullock[7] and Guy Bavli.[8][9]
Gospel magic uses magic to catechize and evangelize. Gospel magic was first used by St. Don Bosco to interest children in 19th century Turin, Italy to come back to school, to accept assistance and to attend church.
Street magic is a form of street performing or busking that employs a hybrid of stage magic, platform and close-up magic, usually performed 'in the round' or surrounded by the audience. Notable modern street magic performers include Jeff Sheridan and Gazzo. Since the first David Blaine TV special Street Magic aired in 1997, the term "street magic" has also come to describe a style of 'guerilla' performance in which magicians approach and perform for unsuspecting members of the public on the street. Unlike traditional street magic, this style is almost purely designed for TV and gains its impact from the wild reactions of the public. Magicians of this type include David Blaine and Cyril Takayama.
Bizarre magic uses mystical, horror, fantasy and other similar themes in performance. Bizarre magic is typically performed in a close-up venue, although some performers have effectively presented it in a stage setting. Charles Cameron has generally been credited as the "godfather of bizarre magic." Others, such as Tony Andruzzi, have contributed significantly to its development.
Shock magic is a genre of magic that shocks the audience. Sometimes referred to as "geek magic," it takes its roots from circus sideshows, in which 'freakish' performances were shown to audiences. Common shock magic or geek magic effects include eating razor blades, needle-through-arm, string through neck and pen-through-tongue.
[edit]Misuse of magic
Some modern magicians say that it is unethical to give a performance which claims to be anything other than a clever and skillful deception; the performer Jamy Ian Swiss, for example, makes this point by billing himself as an "honest liar."[10] On the other side of the coin, many performers say that magical acts, as a form of theater, need no more of a disclaimer than any play or film; this viewpoint is reflected in the words of magician and mentalist Joseph Dunninger, "For those who believe, no explanation is necessary; for those who do not believe, no explanation will suffice."[11]
These apparently irreconcilable differences of opinion have led to some conflicts among performers. For example, more than thirty years after the hugely successful illusionist Uri Geller made his first appearances on television in the 1970s to exhibit his apparently psychic ability to bend spoons, his actions still provoke controversy among some magical performers, because he never told the public that he was using conjuring techniques. On the other hand, because Geller bent—and continues to bend—spoons within a performance context, the Dunninger quote may be said to apply.
Less fraught with controversy, however, may be the use of deceptive practices by those who employ conjuring techniques for personal gain outside the venue of a magical performance.
Fraudulent mediums have long capitalized on the popular belief in paranormal phenomena to prey on the bereaved for financial gain. From the 1840s to the 1920s, during the greatest popularity of the Spiritualism religious movement as well as public interest in séances, a number of fraudulent mediums used conjuring methods to perform illusions such as table-knocking, slate-writing, and telekinetic effects, which they attributed to the actions of ghosts or other spirits. The great escapologist and illusionist Harry Houdini devoted much of his time to exposing such fraudulent operators.[12] Magician James Randi has also devoted much time to investigating paranormal, occult, and supernatural claims.[13][14]
Fraudulent faith healers have also been shown to employ sleight of hand to give the appearance of removing chicken-giblet "tumors" from patients' abdomens.[15]
Con men and grifters too may use techniques of conjuring for fraudulent goals. Cheating at card games is an obvious example, and not a surprising one: one of the most respected textbooks of card techniques for magicians, The Expert at the Card Table by Erdnase, was primarily written as an instruction manual for card sharps. The card trick known as "Find the Lady" or "Three-card Monte" is an old favourite of street hustlers, who lure the victim into betting on what seems like a simple proposition: to identify, after a seemingly easy-to-track mixing sequence, which one of three face-down cards is the Queen. Another example is the shell game, in which a pea is hidden under one of three walnut shells, then shuffled around the table (or sidewalk) so slowly as to make the pea's position seemingly obvious. Although these are well-known as frauds, people still lose money on them; a shell-game ring was broken up in Los Angeles as recently as December 2009.[16]
[edit]Researching magic
Because of the secretive nature of magic, research can sometimes be a challenge[17]. Many magic resources are privately held and most libraries only have small populist collections of magicana. However, organizations exist to band together independent collectors, writers, and researchers of magic history. These include: the Magic Collectors' Association[1], which publishes a quarterly magazine and hosts an annual convention; and The Conjuring Arts Research Center[2], which publishes a monthly newsletter and biannual magazine, and offers its members use of a searchable database of rare books and periodicals.
The history of magic performance is particularly notable as a key area of popular culture from the mid 19th to mid 20th centuries. Many performances and performers can be followed through newspapers of the time.
Many books have been written about magic tricks; so many are written every year that at least one magic author [18] has suggested that more books are written about magic than any other performing art. Although the bulk of these books aren't seen on the shelves of libraries or public bookstores, the serious student can find many titles through specialized stores catering to the needs of magical performers.
Several notable public research collections on magic are the WG Alma Conjuring Collection at the State Library of Victoria; the R. B. Robbins Collection of Stage Magic and Conjuring at the State Library of NSW; the H. Adrian Smith Collection of Conjuring and Magicana at Brown University; and the Carl W. Jones Magic Collection, 1870s-1948 at Princeton University.
[edit]See also
American Museum of Magic
The Magic Circle
Indian magicians
List of magicians
List of magic publications
[edit]References
^ Henning Nelms. Magic and Showmanship: A Handbook for Conjurers, page 1 (Mineola, NY: Dover Publications, Inc, 2000).
^ Jim Steinmeyer. "A New Kind of Magic," in Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear (New York, NY: Carroll & Graf Publishers, 2003).
^ http://www.illusionist.co.uk/magician-blog/2010/05/10-facts-about-magicians/
^ Hollingworth, Guy. "Waiting For Inspiration." Genii Magazine. January 2008-December 2008.
^ Stone, Tom. "Lodestones." Genii Magazine. February 2009 -
^ Hass, Larry and Burger, Eugene (November 2000). "The Theory and Art of Magic". The Linking Ring (The International Brotherhood of Magicians).
^ Bill Herz with Paul Harris. Secrets of the Astonishing Executive(New York, NY: Avon Books, 1991).
^ http://www.all-about-magicians.com/guy-bavli.html
^ http://www.masterofthemind.com/press/Guy%20Bavli%20-%20dream-team%20IBC%20Award-PR2000.pdf
^ Washington Post
^ http://www.memorable-quotes.com/joseph+dunninger,a4219.html Memorable-Quotes.com
^ Harry Houdini. A Magician Among the Spirits (New York: Harper and Bros., 1924)
^ Randi, James (February 9, 2007). "More Geller Woo-Woo". SWIFT Newsletter. James Randi Educational Foundation. Retrieved January 29, 2007.
^ One-Million-Dollar Challenge from MIT Media Lab: Affective Computing Group
^ Robert T. Carroll (2009=02-23). "Psychic 'surgery'". The Skeptic's Dictionary. Retrieved 2010-19-08.
^ Andrew Blankenstein. "8 Arrested in Downtown Shell-Game Operation," Los Angeles Times, December 10, 2009.
^ Magic & magicians http://guides.slv.vic.gov.au/magic
^ Bart King, The Pocket Guide to Magic, Gibbs Smith, 2009
[edit]Bibliography
Maurine Christopher and Milbourne Christopher (1996). The Illustrated History of Magic. Heinemann. ISBN 0435070169.
Milbourne Christopher (1962). Panorama of Magic.
Nadis, Fred, ed. Wonder shows: performing science, magic, and religion in America Rutgers University Press, 2006) online edition
Daniel, Noel, (ed); Mike Caveney and Jim Steinmeyer (eds) (2009). Magic. 1400-1950s. Los Angeles: Taschen. ISBN 9783836509770.
Dunninger, Joseph. The Complete Encyclopedia of Magic.
Price, David (1985). Magic: A Pictorial History of Conjurers in the Theatre. Cornwall Books.
Randi, James (1992). Conjuring: A Definitive History. New York: St. Martin's Press. ISBN 0312086342.
Stebbins, Robert A. (1993). Career, Culture and Social Psychology in a Variety Art: The Magician. Malabar, FL: Krieger.
[hide]
v • d • e
Magic and illusion
General
Mentalists · Assistants · Exposure · Sleight of hand · Magic club · Magic conventions · Equivocation · Misdirection · Magic Allied Arts
Genres
Card · Gospel · Torah · Micromagic · Platform · Parlor · Children's · Street · Theatrical séance · Escape · Coin · Mental · Bizarre · Stage illusions · Mathemagic
Tricks
Stage illusions · Platform magic · Close-up magic · Levitations · Mentalism · Escapology
Lists
Timeline · Conjuring terms · Manufacturers · Magicians · Magic tricks · Magic publications
Magic history
Indian magicians · Tarbell Course
In 1584, Reginald Scot published The Discoverie of Witchcraft. It was written in an attempt to show that witches did not exist, by exposing how (apparently miraculous) feats of magic were done[3]. The book is often deemed the first textbook about conjuring. All obtainable copies were burned on the accession of James I in 1603 and those remaining are now rare. It began to reappear in print in 1651.
Jean Eugène Robert-Houdin, the first modern magician
From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much to Jean Eugène Robert-Houdin (1805–1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view.
The model for the look of a 'typical' magician—a man with wavy hair,a top hat,a goatee, and a tailcoat—was Alexander Herrmann (February 10, 1844 – December 17, 1896), also known as Herrmann the Great. Herrmann was a French magician and was part of the Herrmann family name that is the "first-family of magic". Those who witnessed Herrmann the Great perform considered him the greatest magician they ever saw.
The Conjurer, 1475-1480, by Hieronymus Bosch. Note that the man in the back row is stealing another man's purse. He is also applying misdirection by looking up at the sky to misdirect the audience from his actions. The artist has even misdirected us from the thief, because we are drawn to the magician.
The escapologist and magician Harry Houdini took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on what became known after his death as escapology. The son of a Hungarian rabbi, Houdini was genuinely skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's show business savvy was great as well as his performance skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania.
As a form of entertainment, magic easily moved from theatrical venues to television specials, which opened up new opportunities for deceptions, and brought stage magic to huge audiences. Famous magicians of the 20th century included Okito, Alexander, Harry Blackstone Sr., Harry Blackstone Jr., Howard Thurston, Theodore Annemann, Cardini, Joseph Dunninger, Tommy Wonder, Siegfried & Roy, and Doug Henning. Popular 20th and 21st century magicians include David Copperfield, Lance Burton, James Randi, Penn and Teller, David Blaine, and Criss Angel. Most TV magicians perform before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post-production visual effects.
Many of the principles of stage magic are old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but effects seldom use mirrors today, due to the amount of installation work and transport difficulties. For example, the famous Pepper's Ghost, a stage illusion first used in 19th-century London, required a specially built theatre. Modern performers have vanished objects as large as the Taj Mahal, the Statue of Liberty, and a space shuttle, using other kinds of optical deceptions.
[edit]Categories of effects
There is discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist—for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. Some magicians today, such as Guy Hollingworth[4] and Tom Stone[5] have begun to challenge the notion that all magic effects fit into a limited number of categories. Among magicians who believe in a limited number of categories (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe), there has been disagreement as to how many different types of effects there are. Some of these are listed below.
Production: The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, a dove from a pan, or the magician him or herself, appearing in a puff of smoke on an empty stage—all of these effects are productions.
Vanish: The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation: The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration: The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation: The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
Escape: The magician (an assistant may participate, but the magician himself is by far the most common) is placed in a restraining device (i.e. handcuffs or a straitjacket) or a death trap, and escapes to safety. Examples include being put in a straitjacket and into an overflowing tank of water, and being tied up and placed in a car being sent through a car crusher.
Levitation: The magician defies gravity, either by making something float in the air, or with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion, including Asrah levitation, Balducci levitation, Looy's Sooperman, and King levitation. Much more spectacular is the apparent free flight flying illusion that is often performed by David Copperfield and more recently by Peter Marvey (who may or may not be using a technique similar to that of David Copperfield). Harry Blackstone's floating light bulb, in which the light bulb floats over the heads of the public, is also spectacular.
Penetration: The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as "solid-through-solid".
Prediction: The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate.
Many magical routines use combinations of effects. For example, in "cups and balls" a magician may use vanishes, productions, penetrations, teleportation and transformations as part of the one presentation.
[edit]Secrecy
See also: Intellectual rights to magic methods and Exposure (magic)
The purpose of a magic trick is to amuse and create a feeling of wonderment;[citation needed] the audience is generally aware that the magic is performed using trickery, and derives enjoyment from the magician's skill and cunning.[citation needed] Traditionally, magicians refuse to reveal the methods behind their tricks to the audience. Reasons for secrecy include the following:
Exposure is claimed to "kill" magic as an artform and transforms it into mere intellectual puzzles and riddles.[citation needed] It is argued that once the secret of a trick is revealed to a person, that one can no longer fully enjoy subsequent performances of that magic, as the amazement is missing.[citation needed] Sometimes the secret is so simple that the audience feels let down, and feels disappointed it was taken in so easily.[citation needed]
Keeping the secrets preserves the mystery of professional magicians.
Membership in professional magicians' organizations often requires a solemn commitment to the Magician's Oath never to reveal the secrets of magic to non-magicians. The Magician's Oath may vary, but typically takes the following or similar form:
"As a magician I promise never to reveal the secret of any illusion to a non-magician, unless that one swears to uphold the Magician's Oath in turn. I promise never to perform any illusion for any non-magician without first practicing the effect until I can perform it well enough to maintain the illusion of magic."
Once sworn to the Oath, one is considered a magician, and is expected to live up to this promise. Magicians who reveal secrets, either purposely or through insufficient practice, may find that other magicians are unwilling to teach them any more secrets.
However, it is considered permissible to reveal secrets to individuals who are determined to learn magic and become magicians. It is typically a sequential process of increasingly valuable and lesser known secrets. The secrets of almost all magical effects are available to the public through numerous books and magazines devoted to magic, available from the specialized magic trade. There are also web sites which offer videos, DVDs and instructional materials. In this sense, there are very few classical illusions left unrevealed, but this does not appear to have diminished the appeal of performances. In addition, magic is a living art, and new illusions are devised with surprising regularity. Sometimes a 'new' illusion will be built on an illusion that is old enough to have become unfamiliar.
Some magicians have taken the position that revealing the methods used in certain works of magic can enhance the appreciation of the audience for cleverness of magic. Penn and Teller frequently perform tricks using transparent props to reveal how they are done, for example, although they almost always include additional unexplained effects at the end that are made even more astonishing by the revealing props being used.
Often, what seems to be a revelation of a magical secret is merely another form of misdirection. For instance, a magician may explain to an audience member that the linking rings "have a hole in them" and hand the volunteer two unlinked rings, which the volunteer finds to have become linked as soon as he handles them. At this point the magician may shove his arm through the ring ('the hole in the ring'), proclaiming: "See? Once you know that every ring has a hole, it's easy!"
[edit]Learning magic
See also: List of magic publications
Dedication to magic can teach confidence and creativity, as well as the work ethic associated with regular practice and the responsibility that comes with devotion to an art.[6] The teaching of performance magic was once a secretive practice.[citation needed] Professional magicians were unwilling to share knowledge with anyone outside the profession[citation needed] to prevent the laity from learning their secrets. This often made it difficult for an interested apprentice to learn anything but the basics of magic. Some had strict rules against members discussing magic secrets with anyone but established magicians.
From the 1584 publication of Reginald Scot's Discoverie of Witchcraft until the end of the 19th century, only a few books were available for magicians to learn the craft, whereas today mass-market books offer a myriad titles. Videos and DVDs are a newer medium of tuition, but many of the methods found in this format are readily found in previously published books. However, they can serve as a visual demonstration.
Persons interested in learning to perform magic can join magic clubs. Here magicians, both seasoned and novitiate, can work together and help one another for mutual improvement, to learn new techniques, to discuss all aspects of magic, to perform for each other — sharing advice, encouragement, and criticism. Before a magician can join one of these clubs, they usually have to audition. The purpose is to show to the membership they are a magician and not just someone off the street wanting to discover magical secrets.
The world's largest magic organization is the International Brotherhood of Magicians; it publishes a monthly journal, The Linking Ring. The oldest organization is the Society of American Magicians, of which Houdini was a member and president for several years. In London, England, there is The Magic Circle which houses the largest magic library in Europe. Also PSYCRETS - The British Society of Mystery Entertainers, which caters specifically to mentalists, bizarrists, storytellers, readers, spiritualist performers, and other mystery entertainers. The Magic Castle in Hollywood is home to the Academy of Magical Arts.
[edit]Types of magic performance
Magic performances tend to fall into a few specialties or genres.
A mentalist on stage in a mind-reading performance, 1900
Amateur magician performing "children's magic" for a birthday party audience
Stage illusions are performed for large audiences, typically within an auditorium. This type of magic is distinguished by large-scale props, the use of assistants and often exotic animals such as elephants and tigers. Some famous stage illusionists, past and present, include Harry Blackstone, Sr., Howard Thurston, Chung Ling Soo, David Copperfield, Siegfried & Roy, and Harry Blackstone, Jr..
Platform magic (also known as cabaret magic or stand-up magic) is performed for a medium to large audience. Nightclub magic and comedy club magic are also examples of this form. The use of illusionettes (small tabletop illusions) is common. The term parlor magic is sometimes used but is considered by some to be pejorative. This genre includes the skilled manipulation of props such as billiard balls, card fans, doves, rabbits, silks, and rope. Examples of such magicians include Jeff McBride, Penn & Teller, David Abbott, Channing Pollock, Black Herman, and Fred Kaps.
Micromagic (also known as close-up magic or table magic) is performed with the audience close to the magician, sometimes even one-on-one. It usually makes use of everyday items as props, such as cards (see Card manipulation), coins (see Coin magic), and seemingly 'impromptu' effects. This may be called "table magic", particularly when performed as dinner entertainment. Ricky Jay and Lee Asher, following in the traditions of Dai Vernon, Slydini, and Max Malini, are considered among the foremost practitioners of close-up magic.
Escapology is the branch of magic that deals with escapes from confinment or restraints. Harry Houdini is a well-known example of an escape artist or escapologist.
Mentalism creates the impression in the minds of the audience that the performer possesses special powers to read thoughts, predict events, control other minds, and similar feats. It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator. Well-known mentalists of the past and present include Alexander, The Zancigs, Axel Hellstrom, Dunninger, Kreskin, Derren Brown, Guy Bavli and Banachek.
Theatrical séances simulate spiritualistic or mediumistic phenomena for theatrical effect. This genre of stage magic has been misused at times by charlatans pretending to actually be in contact with spirits.
Children's magic is performed for an audience primarily composed of children. It is typically performed at birthday parties, preschools, elementary schools, Sunday schools or libraries. This type of magic is usually comedic in nature and involves audience interaction as well as volunteer assistants.
Online magic tricks were designed to function on a computer screen. The computer essentially replaces the magician. Some online magic tricks recreate traditional card tricks and require user participation, while others, like Plato's Cursed Triangle, are based on mathematical, geometrical and/or optical illusions. One such online magic trick, called Esmeralda's Crystal Ball, became a viral phenomenon that fooled so many computer users into believing that their computer had supernatural powers, that Snopes dedicated a page to debunking the trick.
Mathemagic is a genre of stage magic that combines magic and mathematics. It is commonly used by children's magicians and mentalists.
Corporate magic or trade show magic uses magic as a communication and sales tool, as opposed to just straightforward entertainment. Corporate magicians may come from a business background and typically present at meetings, conferences and product launches. They run workshops and can sometimes be found at trade shows, where their patter and illusions enhance an entertaining presentation of the products offered by their corporate sponsors. Pioneer performers in this arena include Eddie Tullock[7] and Guy Bavli.[8][9]
Gospel magic uses magic to catechize and evangelize. Gospel magic was first used by St. Don Bosco to interest children in 19th century Turin, Italy to come back to school, to accept assistance and to attend church.
Street magic is a form of street performing or busking that employs a hybrid of stage magic, platform and close-up magic, usually performed 'in the round' or surrounded by the audience. Notable modern street magic performers include Jeff Sheridan and Gazzo. Since the first David Blaine TV special Street Magic aired in 1997, the term "street magic" has also come to describe a style of 'guerilla' performance in which magicians approach and perform for unsuspecting members of the public on the street. Unlike traditional street magic, this style is almost purely designed for TV and gains its impact from the wild reactions of the public. Magicians of this type include David Blaine and Cyril Takayama.
Bizarre magic uses mystical, horror, fantasy and other similar themes in performance. Bizarre magic is typically performed in a close-up venue, although some performers have effectively presented it in a stage setting. Charles Cameron has generally been credited as the "godfather of bizarre magic." Others, such as Tony Andruzzi, have contributed significantly to its development.
Shock magic is a genre of magic that shocks the audience. Sometimes referred to as "geek magic," it takes its roots from circus sideshows, in which 'freakish' performances were shown to audiences. Common shock magic or geek magic effects include eating razor blades, needle-through-arm, string through neck and pen-through-tongue.
[edit]Misuse of magic
Some modern magicians say that it is unethical to give a performance which claims to be anything other than a clever and skillful deception; the performer Jamy Ian Swiss, for example, makes this point by billing himself as an "honest liar."[10] On the other side of the coin, many performers say that magical acts, as a form of theater, need no more of a disclaimer than any play or film; this viewpoint is reflected in the words of magician and mentalist Joseph Dunninger, "For those who believe, no explanation is necessary; for those who do not believe, no explanation will suffice."[11]
These apparently irreconcilable differences of opinion have led to some conflicts among performers. For example, more than thirty years after the hugely successful illusionist Uri Geller made his first appearances on television in the 1970s to exhibit his apparently psychic ability to bend spoons, his actions still provoke controversy among some magical performers, because he never told the public that he was using conjuring techniques. On the other hand, because Geller bent—and continues to bend—spoons within a performance context, the Dunninger quote may be said to apply.
Less fraught with controversy, however, may be the use of deceptive practices by those who employ conjuring techniques for personal gain outside the venue of a magical performance.
Fraudulent mediums have long capitalized on the popular belief in paranormal phenomena to prey on the bereaved for financial gain. From the 1840s to the 1920s, during the greatest popularity of the Spiritualism religious movement as well as public interest in séances, a number of fraudulent mediums used conjuring methods to perform illusions such as table-knocking, slate-writing, and telekinetic effects, which they attributed to the actions of ghosts or other spirits. The great escapologist and illusionist Harry Houdini devoted much of his time to exposing such fraudulent operators.[12] Magician James Randi has also devoted much time to investigating paranormal, occult, and supernatural claims.[13][14]
Fraudulent faith healers have also been shown to employ sleight of hand to give the appearance of removing chicken-giblet "tumors" from patients' abdomens.[15]
Con men and grifters too may use techniques of conjuring for fraudulent goals. Cheating at card games is an obvious example, and not a surprising one: one of the most respected textbooks of card techniques for magicians, The Expert at the Card Table by Erdnase, was primarily written as an instruction manual for card sharps. The card trick known as "Find the Lady" or "Three-card Monte" is an old favourite of street hustlers, who lure the victim into betting on what seems like a simple proposition: to identify, after a seemingly easy-to-track mixing sequence, which one of three face-down cards is the Queen. Another example is the shell game, in which a pea is hidden under one of three walnut shells, then shuffled around the table (or sidewalk) so slowly as to make the pea's position seemingly obvious. Although these are well-known as frauds, people still lose money on them; a shell-game ring was broken up in Los Angeles as recently as December 2009.[16]
[edit]Researching magic
Because of the secretive nature of magic, research can sometimes be a challenge[17]. Many magic resources are privately held and most libraries only have small populist collections of magicana. However, organizations exist to band together independent collectors, writers, and researchers of magic history. These include: the Magic Collectors' Association[1], which publishes a quarterly magazine and hosts an annual convention; and The Conjuring Arts Research Center[2], which publishes a monthly newsletter and biannual magazine, and offers its members use of a searchable database of rare books and periodicals.
The history of magic performance is particularly notable as a key area of popular culture from the mid 19th to mid 20th centuries. Many performances and performers can be followed through newspapers of the time.
Many books have been written about magic tricks; so many are written every year that at least one magic author [18] has suggested that more books are written about magic than any other performing art. Although the bulk of these books aren't seen on the shelves of libraries or public bookstores, the serious student can find many titles through specialized stores catering to the needs of magical performers.
Several notable public research collections on magic are the WG Alma Conjuring Collection at the State Library of Victoria; the R. B. Robbins Collection of Stage Magic and Conjuring at the State Library of NSW; the H. Adrian Smith Collection of Conjuring and Magicana at Brown University; and the Carl W. Jones Magic Collection, 1870s-1948 at Princeton University.
[edit]See also
American Museum of Magic
The Magic Circle
Indian magicians
List of magicians
List of magic publications
[edit]References
^ Henning Nelms. Magic and Showmanship: A Handbook for Conjurers, page 1 (Mineola, NY: Dover Publications, Inc, 2000).
^ Jim Steinmeyer. "A New Kind of Magic," in Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear (New York, NY: Carroll & Graf Publishers, 2003).
^ http://www.illusionist.co.uk/magician-blog/2010/05/10-facts-about-magicians/
^ Hollingworth, Guy. "Waiting For Inspiration." Genii Magazine. January 2008-December 2008.
^ Stone, Tom. "Lodestones." Genii Magazine. February 2009 -
^ Hass, Larry and Burger, Eugene (November 2000). "The Theory and Art of Magic". The Linking Ring (The International Brotherhood of Magicians).
^ Bill Herz with Paul Harris. Secrets of the Astonishing Executive(New York, NY: Avon Books, 1991).
^ http://www.all-about-magicians.com/guy-bavli.html
^ http://www.masterofthemind.com/press/Guy%20Bavli%20-%20dream-team%20IBC%20Award-PR2000.pdf
^ Washington Post
^ http://www.memorable-quotes.com/joseph+dunninger,a4219.html Memorable-Quotes.com
^ Harry Houdini. A Magician Among the Spirits (New York: Harper and Bros., 1924)
^ Randi, James (February 9, 2007). "More Geller Woo-Woo". SWIFT Newsletter. James Randi Educational Foundation. Retrieved January 29, 2007.
^ One-Million-Dollar Challenge from MIT Media Lab: Affective Computing Group
^ Robert T. Carroll (2009=02-23). "Psychic 'surgery'". The Skeptic's Dictionary. Retrieved 2010-19-08.
^ Andrew Blankenstein. "8 Arrested in Downtown Shell-Game Operation," Los Angeles Times, December 10, 2009.
^ Magic & magicians http://guides.slv.vic.gov.au/magic
^ Bart King, The Pocket Guide to Magic, Gibbs Smith, 2009
[edit]Bibliography
Maurine Christopher and Milbourne Christopher (1996). The Illustrated History of Magic. Heinemann. ISBN 0435070169.
Milbourne Christopher (1962). Panorama of Magic.
Nadis, Fred, ed. Wonder shows: performing science, magic, and religion in America Rutgers University Press, 2006) online edition
Daniel, Noel, (ed); Mike Caveney and Jim Steinmeyer (eds) (2009). Magic. 1400-1950s. Los Angeles: Taschen. ISBN 9783836509770.
Dunninger, Joseph. The Complete Encyclopedia of Magic.
Price, David (1985). Magic: A Pictorial History of Conjurers in the Theatre. Cornwall Books.
Randi, James (1992). Conjuring: A Definitive History. New York: St. Martin's Press. ISBN 0312086342.
Stebbins, Robert A. (1993). Career, Culture and Social Psychology in a Variety Art: The Magician. Malabar, FL: Krieger.
[hide]
v • d • e
Magic and illusion
General
Mentalists · Assistants · Exposure · Sleight of hand · Magic club · Magic conventions · Equivocation · Misdirection · Magic Allied Arts
Genres
Card · Gospel · Torah · Micromagic · Platform · Parlor · Children's · Street · Theatrical séance · Escape · Coin · Mental · Bizarre · Stage illusions · Mathemagic
Tricks
Stage illusions · Platform magic · Close-up magic · Levitations · Mentalism · Escapology
Lists
Timeline · Conjuring terms · Manufacturers · Magicians · Magic tricks · Magic publications
Magic history
Indian magicians · Tarbell Course
membekukan air dengan ujung jari
Effects : Anda mampu membuat air di dalam botol dalam waktu singkat membeku menjadi es
Persiapan :
1. Persiapkan Sodium Asetat, sering disebut Natrium Asetat
(bisa dibeli di toko kimia, rumus kimianya : NaC2H3O2)
, air, dan panci.
2. Rebus air sampai hampir mendidih, tambahkan sodium asetat, aduk hingga larut.
3. Jika sudah larut, masukkan air ke dalam gelas. Pastikan endapan Sodium Asetat tersaring dengan sempurn
4. Masukkan gelas berisi larutan tersebut ke dalam kulkas (bukan di dalam freezer
Prosedur :
1. Saat akan melakukan performance, tuang larutan tersebut ke dalam botol/ gelas.
2. Sentuhlah permukaan larutan tersebut dengan tangan anda/ tangan sukarelawan selama beberapa saat (kurang lebih satu menit, tergantung perbandingan antara sodium asetat dan air). Dalam sekejap, air tersebut akan membeku menjadi es.
Penjelasan Ilmiah Secara Singkat dan Sederhana :
1. Reaksi proses Hidrasi (penambahan air) yang terjadi pada Sodium Asetat adalah reaksi eksotermis, artinya reaksi yang membebaskan kalor dari sistem (larutan) ke lingkungan. Inilah yang menyebabkan es yang terbentuk agak terasa hangat walaupun larutan baru saja didinginkan di lemari es.
2. Bentuk padat sodium asetat "menyerap" tiga molekul air sehingga membentuk senyawa baru bernama Sodium Asetat Trihidrat.
Berikut rumus kimianya :
NaC2H3O2 (s) + 3H2O (l) ---> NaC2H3O2-3 H2O (s) + panas
Trik ini sekali lagi membuktikan bahwa magic adalah sesuatu yang sangat ilmiah dan masuk akal; sangat jauh dari unsur gaib, klenik, apalagi bantuan jin dan setan. Sebuah pertunjukan magic yang baik hanya akan bisa dicapai jika kita mampu mengoptimalisasi kekuatan pikiran kita, dan memadukannya dengan daya kreativitas yang tinggi.
Persiapan :
1. Persiapkan Sodium Asetat, sering disebut Natrium Asetat
(bisa dibeli di toko kimia, rumus kimianya : NaC2H3O2)
, air, dan panci.
2. Rebus air sampai hampir mendidih, tambahkan sodium asetat, aduk hingga larut.
3. Jika sudah larut, masukkan air ke dalam gelas. Pastikan endapan Sodium Asetat tersaring dengan sempurn
4. Masukkan gelas berisi larutan tersebut ke dalam kulkas (bukan di dalam freezer
Prosedur :
1. Saat akan melakukan performance, tuang larutan tersebut ke dalam botol/ gelas.
2. Sentuhlah permukaan larutan tersebut dengan tangan anda/ tangan sukarelawan selama beberapa saat (kurang lebih satu menit, tergantung perbandingan antara sodium asetat dan air). Dalam sekejap, air tersebut akan membeku menjadi es.
Penjelasan Ilmiah Secara Singkat dan Sederhana :
1. Reaksi proses Hidrasi (penambahan air) yang terjadi pada Sodium Asetat adalah reaksi eksotermis, artinya reaksi yang membebaskan kalor dari sistem (larutan) ke lingkungan. Inilah yang menyebabkan es yang terbentuk agak terasa hangat walaupun larutan baru saja didinginkan di lemari es.
2. Bentuk padat sodium asetat "menyerap" tiga molekul air sehingga membentuk senyawa baru bernama Sodium Asetat Trihidrat.
Berikut rumus kimianya :
NaC2H3O2 (s) + 3H2O (l) ---> NaC2H3O2-3 H2O (s) + panas
Trik ini sekali lagi membuktikan bahwa magic adalah sesuatu yang sangat ilmiah dan masuk akal; sangat jauh dari unsur gaib, klenik, apalagi bantuan jin dan setan. Sebuah pertunjukan magic yang baik hanya akan bisa dicapai jika kita mampu mengoptimalisasi kekuatan pikiran kita, dan memadukannya dengan daya kreativitas yang tinggi.
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