Extrasensory Perception

(Armemann)

One of the greatest effects In thought transmission is the coding of pictures freely drawn by the audience. It goes without saying that it Is at the same time the most intricate of methods. Julius Zancig was most adept at this feat and developed it over a period of years through undisputed ability plus a thorough grounding In transmission secrets.

What I am presenting here is a poor substitute for what that master could accomplish, but in itself and as far as it goes,, the effect is quite marvelous to an audience and at the same time satisfying to the most exact performer in regards to cleaness of working.

One needs only a set of 32 five inch square cards and a large slate with chalk. These cards are best made of white drawing board. This can be obtained from stationary stores in sheets about 22 by 28 inches in size. On one side of each card is drawn a simple sketch with black drawing ink. The sketches are made very heavy and as large as possible. On the illustrated slate I have drawn the Ideas I am using myself, although any others can be put to use. (Ed., the strange object fourth from the left in the bottom row is said to be an eye.)

Effects The set of illustrated cards is freely shown to consist of 32 different and simple ideas. The performer says that he will try a test of thought transferance with members of the audience. Pictures will be used rather than letters or figures because they are better visualized in the mind. The cards, a3 the performer speaks, are mixed in a fair manner (but not shuffled like playing cards) and then placed in a stack with drawing sides down on the slate. Approaching a subject to be, the performer asks him or her to pick off a number of the cards in a bunch and hold thi3 stack with face of same close to body for the time being. Without touching the cards left on the slate, the performer passes to another and has them repeat the procedure. The few cards left are put aside and the performer stands a few yards in front of one spectator with nothing but the slate and chalk in hand. For the first time the assis tant is asked to look steadily at his drawing and concentrate upon it. It may be mentioned that at no time can the perfomer see either the face or back of the drawing being looked at, and that the selection has been left entirely to chance. However, the rest of the audience will know that and It is best not to emphasize the points.

Drawing something on his side of the slate, the performer asks spectator to show his drawing to all. Turning the slate, the performer shows his sketch to be the same! Passing to the second spectator the test is repeated, this time the performer drawing on the other side of slate, and again the drawing is duplicated! And everything can be left with the audience if desired!

Method: The pictures are stacked. Not in any memorised order but on the slate and across the center is put in pencil the 32 sketches quite small. They are in the same order as in the pacK. Hold the pack with faces down in left hand. Take a bunch from the top with right and apparently mix the two bunches together. Really though, a few from thv top of right hand are left on bottom of left pile and then a few from bottom of right pile are left on top of left stack. Repeat this maneuvre until ill right hand cards are gone and repeat the gesture if desired. Do this loosely so that it appears like at random and you have the best false mixing possible. The stack is only cut and this doesn't matter. The first and second spectators cut off a bunch each and hold. '.Vhen you lay aside the few remaining, you drop them face up and your fingers have spread them a little so the identity of top card is known to you. The second spectator's picture will be one behind (to the left" on slate list)this drawing. Note it while telling spectator to look at drawing and then draw it ON TIIE CLEAN SIDE, "┬┐hen both have been shown, take the bunch from spectator and lay aside in the 3ame manner. Spotting top card of this packet you know the identity of the first spectator's card when you start drawing on the other (list side) side of slate. Arrange this sketch with heavy lines so that it blocks out the list. I doubt if a cleaner method of duplicating pictures can be devised for one person. From the viewpoint of the audience it is convincing and more than fair in every way.

Pace 52

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