At long last we can announce that definite arrangements have been made to hold a two day Close-up Convention. It will be on Saturday and Sunday, 12th and 13th of March 1977 in Birmingham, this date being the centenary of the birth of the late John Ramsay. We are calling it the 'RAMSAY REUNION' and it should be an occasion to be remembered; there will be lectures, performances and of course plenty of time for informality. It will have an international emphasis and already two world class performers have promised to be present, one for the first time in Europe.
In keeping with the event we will be producing a souvenir programme that will be signed by the performers taking part, but obviously the number will have to be limited. Those who cannot be present are invited to apply now — the price will be £1.50 England and Europe, US$4.00 air mail — please enclose your remittance.
A registration form is now available and if you would like to join us write now as admission is limited. Please include a self-addressed envelope, (stamped if UK, help for postage costs appreciated if you are outside UK) and we will send details.
If interested write at once to: Fred Robinson, Technical Editor, Pabular, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts, England.
<THCFSQUQH THE FOURTH "^DIMENSION
Two selected cards are returned to the pack and subsequently lost therein. The performer locates one by cutting to it and on pushing it through the pack (the fourth dimension) it changes to the second selection. The pack is then divided into two halves, and one half turned face up and riffle shuffled into the face down half. Magically the cards all turn face down with the exception of the chosen ones which remain face up.
Have two cards freely selected and returned to the pack and bring them to the top using whichever method you prefer. Using the double lift turn them face up on top of the pack claiming that you have located one of the chosen cards using fourth dimensional magic. When the card has been verified as one chosen hold the pack as in (1) and pick off the two top face up cards as one and push them, still face up, into the side of the face down pack. In detail you perform a mini faro with the corners of the two face up cards and the corner of the pack interlacing one card between the two face up cards. The two cards are moved to a central position in the side of the pack. (1) Note that the left forefinger is positioned on the left side of the pack preventing the two cards from becoming unsquared during the faro and subsequent movement of the cards. Once the card(s) are projecting as shown in the diagram the left forefinger moves to the outer end of the pack. The right hand now moves over the pack with the thumb on the edge of the projecting cards and the forefinger in contact with the side of the cards above the exposed face up card and resting on it. The remaining fingers of the right hand are touching the other side of the pack. In this position the right thumb levers up the projecting cards slightly upwards and moves them together with the upper half of the pack to the left into the position shown in (2). Fig.(3) shows the situation as viewed from the top with the right hand removed and half the face of the first selection still visible. The left hand is now turned over as in (4) bringing the back of the second selection into view the spectators wrongly assuming it to be the back of the first chosen card. Remove it, be the back of the first chosen card. Remove it,
This method of secretly exchanging one card for another is original with me, and with due modesty I have named it the "David Britland Lateral Change'.
With the exchanged card on the table you proclaim that it has been through the fourth dimension and invite a doubting spectator to turn it face up. It is the second selection. As this is happening the right hand approaches the pack and takes up the position as in (5) in readiness to square up the two halves, together with the first selection which is still face up and at right angles to the pack (A). The right fingertips pull back the crosswise card in the direction shown by the arrow in (B) an action which brings the corner X into view just above the crotch of the right thumb and as the two halves are closed up the projecting card is automatically forced into line with the rest of the pack making it an easy matter to square up the pack without fumbling.
Cut the pack immediately below the face up card bringing it to the bottom and you are now set to perform the reverse effect.
With the pack in the left hand the right cuts off about half the pack and as it puts it face up on the table the left hand turns palm down bringing the half it holds face up with the selected card face down on top. Pick up the other selected card from the table and insert it face down into the apparent face down half held in the left hand. Faro the face up half into the face down half appearing to give a face up face down mixture. Cut the pack and complete the cut. Ribbon spread the pack across the table revealing the two chosen cards to be the only ones face up in an otherwise face down pack. This reverse is a good clean up making use of a reversed selected card. Do give the 'Lateral Change' a try, I can assure you it looks impossible.
A mental item. I've always liked the effect in which the blindfolded performer tells which coloured ball each of five persons has taken from a box, and put in his pocket. I had the early apparatus method but in seeking an easy non-apparatus method I hit upon the following.
The five coloured balls are on the stand, both are unprepared. Performer blindfolded stands with back to the proceeding. Each of five spectators takes a ball and hides it in his pocket. On turning round performer accurately 'divines' the colour of the ball each spectator has in his pocket. This very effective effect has a simple secret. One of the spectators is a collaborator who always takes the same coloured ball and he cues performer — using a simple 'finger' or 'head' code — to advise him the colours the other spectators have chosen.
(If a 'foot' code was used the whole effect could be performed without removing the blindfold provided the assistant stood where the performer could see his feet from beneath the blindfold. In this method the performer would remain in one place and be approached by each person in turn and as he was 'divining' would mention all the colours in his patter and as he named the correct colour his assistant would move his foot slightly. Tech. Ed.)
One of the most effective demonstrations possible with a pack of cards is to convince card players that you possess the requisite skill to win money if you so desire.
The method about to be explained enables the performer to deal a flush, four of a kind or a full house in a poker game where three, four or five players are taking part. The spectators dictate the kind of hand and the number of players and can also chose which player is to receive the hand chosen.
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.