even !!^feCL! ^VC allemP*ed to explore the possibilities of Mnemonka further. The result gave me great satisfaction, happiness, pleasure
mnemonic* J 24i and joy(!), It's one of the tricks I perform most often, and the effect is overwhelming, even dumbfounding.
Place Cards 14 through 26 of the stack (the 8V through the K*) on top of the deck, in order. Likewise, put the Cards 1 (the 44) through 13 (the q4) on the bottom- The twenty-six central cards are unstacked (Fig. 47). This arrangement allows you to give the cards a riffle shuffle, cutting the deck in half and taking care not to mesh either the upper half of the top packet or the lower half of the bottom one. Fig. 48 shows the situation after the riffle shuffle.
After the shuffle, ask a spectator to cut the deck near center, to turn the bottom half face up, and to riffle shuffle the packets together. The cards will end up jumbled, conveying an impression of total chaos (Fig. 49).
Ask the same spectator to lift a smaller packet from the deck (less than half)/ to note the bottom card, no matter if it's face up or face down, and to put the cut-off packet into his pocket. Meanwhile, you glimpse the first face-down card and the first face-up card on top of the packet that remains on the table (Fig. 50, next page). Ihe card noted by the spectator will be either the one that precedes that face-down card in mnemonic order, or the one that mnemonically follows the face-up card glimpsed.
242 / juan Tamariz
,he selection and then divine Y0Ur > car s i^the spectator's pocket, e n^tr of «vied cards in that aS 7 and he,r colors and identities. As you ££ ou ave access to a great dea, of infor-Lul these cards. Bv subtracting from
"rds vou glimpsed in your own packet you can east asccrlain the number of cards in the spec tator's pocket, if the cards you glimpsed are, for example, 19 and 6, then 19 - 6 = 13. Subtract 1 _
from that result to determine the number of cards the spectator has; 12, in this case. Furthermore, you now know that his cards are numbers 14,15, 16,17 and 18 (up to the number of the card sighted, which is 19), all face down. Then 13,12,11,10, 9, 8 and 7 (down to the other card glimpsed, which is 6), all face up. In other words, we have access to and can easily calculate (and pretend to divine) the number of black and red cards in the packet, or how many are of a given suit, or how many are picture cards. Use this as a climax for "Control in Chaos" (p. 116).
The stack Is easily reassembled while giving an impression of great disorder As you separate the face-up cards from the face-down ones, do so with a certain control of the stacked portion and chaotic abandon with the other twenty-six cards, which will set the scene wonderfully for the tricks to follow. Note
After the initial shuffle of face-up and face-down cards, you may shuf-
overhand fashion, only shuffling about fifteen cards from the bottom. The stacked cards are among the top thirty-five (which arc mixed face up with face down). You may even reverse all fifteen of those cards or do so in small groups, perhaps dropping some of them to the table and picking them up with evident carelessness. I strongly suggest that you use the deceptive turnovers described in the context of "Memory Jumble" (p. 195).
4. Mnemonicosis with a Half Stack start!"( '"i Mnemcmicosis"' described in Part i for use with the full • P h l. can be also performed with a half stack, while giving a
2LlPri0n 0i ,he Cards shuffled. After an overhand shuffle toward! SlaCkCd Mf imact' Ulke ^Cked portion and fan it face
Pack, a comZr;:kÍn8 ^ lWnk °f «V card he *** a"d alk,:;: ****** P^ion on another spectator, who is
11 to thdt Portion and shuffle the cards in any way he wants-
Mnemovjca ,/ 243
The first spectator riffle shuffles both halves toveih , through the cards, passing «hem quickly from hJd nH ? V°U n,n this you use Harry Lorayne's great divide or Marb , ^ d°
(Appendix VI, pp. 362-363), Hof.inser's sp^cu,D^T'^
Green's angle separation (p. 361) ,„ unshuffl" the"a!ds i "
name the forced selection. 1 ncn P^0«1 lo
Reverse the order of the twenty-six stacked cards (if they have been piously reversed by your sorting procedure) by running Lm on^ a tune, under the guise of an overhand shuffle. Continue to shuffle o the remaining cards normally. Pretend to know the thought-of card and
•«• i «I* . ^ ^nd you locate it bv cutting and spelling or whatever, as explained in "Mnemonicosis". Die impression of the deck having been shuffled is utterly convincing since the spectators shuffled the cards themselves. Such are the paradoxes of magic with Mnemonica.
5. Spectator Misses, Magician Hits
Here is a routine I devised, based on an idea of Carlhorst Meier from Nuremberg, who showed it to my admirable Roberto Giobbi, who in turn showed it to me.
Divide the deck in half and set the unstacked portion aside. False shuffle the stacked cards and hand them to a spectator, who gives the packet a complete cut and takes the top two cards, one for you and one for himself. You and the spectator each look at your respective cards and intently gaze into each other's eyes, each attempting to divine the other's card. The spectator misses (unless he's lucky), but you name his card, knowing that it must be the one that either precedes or follows yours in the stack. To determine which of these it is, you previously note whether the spectator gives you the top card or that second from the top, after he cuts.
Return the cards to their positions, or insert them anywhere and then bring them to their proper places with the TPC (p. 359) or some other method, such as the one described in Appendix II, 3C (p. 278).
Repeat everything a second time and then a third, keeping in mind that it's a very quick effect each time: cutting, completing the cut, taking two cards, looking at yours and naming the spectator's.
The fourth time, the spectator deals the two cards face down and nobody looks. He names the card he thinks the magician has (and misses, poor fellow!). As soon as he turns up your card to ascertain whether he s hit or missed, you immediately know his and proceed to name it.
It is no, necessary to look openly at your own card 'nsUMd.you an glimpse- ,t while showing it «o the spectator. Why not use the time-honored
method Of bowing the card, shown in ,
R8T^ lick is concluded ma spectacular
Jyl doing the same div,nation with
^•eral persons simultaneously.
\ spectator gives the cards a complete cut and takes the top two, laying the top card in front of you and the next one in front of himself. He then gives the deck ,o another spectator, who does the same (cutting, completing the cut and dealing two cards). A third spectator does like- _
wise. You now perform the trick with all three at a time, each spectator attempt-
missing ninety percent of the time. For |* ^ * ^ ^W * I
a smashing climax, you quickly name A ^ . J
the cards that are in front each specta-
tor, pointing to each: "You have the Six of I^^^^Vt^yj^^^H
Hearts, you the Four of Clubs and you the *] O jfy
You may van* the presentation as you ^ '
please. The original idea that Carlhorst
Meier showed to Roberto was slightly---—
different. He would ask a spectator to cut the deck and put the top two cards into different pockets. He'd then ask the spectator to try to guess one of the two and to take one of the cards from his pocket to check his guess. The spectator 's guess proves wrong, but the magician successfully divines the card in the other pocket.
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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.