r „ earlier Aronson published a card location called "Some PCOp|c

T J to give the memorized deck a riffle shuffle, was very SUr.

This trick also includes a great presentational idea. "Lie Sleuth" TnWol the same journal, is based on a plot idea by Vincent Dalban (as tri :k "The Liar", included in this book, p. 218), and features a pro-¡^tivc and clever presentational element suggested by David Solomon. Abo in this issue of Kabbala (p. 60), see Aronson's "Group Shuffle", a mos( original presentation, in which three cards are divined after a collective shuffle bv several spectators.

In Vie Card Ideas of Simon Aronsoti (1978), "General Observations on the

Memorized Deck" (p. 88) contains sharp ideas and comments about magic with a memorized deck. "Two-Card 'No Touch' Location" (p. 95) is based on a bold but very deceptive use of estimation, carried out while a spectator gives the deck an overhand shuffle. "Four Stop Intersection" (p. 100) is a complex and intelligent way to divine four cards sighted by spectators under tnilyclearconditions. "Histed Heisted" (p. 104) contains a marvelous climax for the classic effect that the French call "Raynaly's Trick", variously referred to in English as The Miracle Divination, The Princess Card Trick and the matrix principle. The deck is divided among a number of spectators and each is asked to think of one of the cards he holds. The deck is then reassembled and shuffled. Several groups of cards are shown to the spectators, who say whether their card is among them, after which all the cards are divined. The trick was brilliantly adapted for the memorized deck by Louis Histed. Ever since I read Aronson's version, I have applied his climax of an impossible prediction to my presentation, which yields amazing results with laymen and magicians alike. "S-D Plus" (p. Ill) routines three impossible locations of cards sighted by a spectator and, as Aronson points out, are not particularly attractive to laymen but are tremendously baffling to experts. "Center Cut Location" (p. 117) is an ingenious idea that allows one to ascertain the identity of a card sighted by a spectator after he draws a packet from the center of the deck and shuffles it.

In Aronson's Shuffle-bored (1980), he explains "Divided Deck Shuf-

Sh m? (P" ,3)' "Del<1yed Locati»n Ejects" (p. 15) and "Selection u I e-bored" (p. 19), which are variations on his idea for determining « number of face-up cards in a packet from a deck that spectators have ™ rePeatedly faniing packets over as they please). In the present

Chaoi> 116>maSniiiCent VerSi°n by Ram6n Riob6° Htled "C°ntr01 in ons^T Am0ach (199°) «ntains "Bait and Switch" (p. 85), a denv shufflcd deckSfUPP0Sedly 8reat skiU' including an interesting switch of.a deck for a stacked one. "Any Card, Then Any Number" (p. 93) *

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The Illustrated Key To The Tarot

The Illustrated Key To The Tarot

The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.

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