WEBVTT

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welcome to Kaps Live, the live streaming
lectures group from grupoKaps

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I'm Paco and I'll be the MC today

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I want to say thanks to everyone watching

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we do this for you

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the lectures that we offer come in two parts

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first a regular lecture were our guest

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he'll explain some of his thoughts,
tricks and theory's and later

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we'll try to go deeper into the person
with an interview. Today's guest

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is one of the great thinkers of modern
magic and personally I can say

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his writings have inspired me in the
same way as Arturo de Ascanio

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and there's something that everyone
here at grupo Kaps

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whenever magicians are arguing
about something here in Spain

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and there might be a discussion
or no consensus

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someone says anything and
finishes with "Gabi said that"
01:17.620 --> 01:22.220
and the conversation ends there,
so there must be something to it

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so I'm going to leave you with
him with this syllogism

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from his lecture notes "beyond
the method" where he states

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"if magic is an art that comes
from imagination

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and the imagination doesn't have any
tricks then neither does magic"

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ladies an gentleman I give you
Gabi Pareras

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that was great, and the
syllogism was great

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I couldn't have done it better

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Just in case I've counted all the
decks so don't get tempted

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a couple of notes, a little bit of cream
for the changes in temperature

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and the cards quality, I went back to
the beginning so I brought

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some first versions of tricks that
have changed over time

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and I have the notes so I
don't forget anything
02:31.240 --> 02:34.040
over the years I've reached the
conclusion that every trick

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is a permanent teacher from where
you can learn different things

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and like Ascanio says, as you change
the tricks changes with you

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you have to grow old with your
repertoire or at least part of it

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because it marks stages of growth,
development and evolution

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So those tricks are there
for infinite reasons

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that's why I say that I could spend 3
hours or 4 days with 1 just trick

02:57.980 --> 03:01.520

because even the smallest trick
can teach you a whole lot

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because it contains all of magic
and all you can think of it

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very very concentrated, maybe you
have to scratch the surface a bit

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but it's there

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so the idea of the trick as
a teacher is fantastic

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and some tricks like the
ones I brought today

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reflect this process of evolution

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over the years, how they started

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why they appeared? what was I looking
for? and how they've changed

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refining and polishing and meeting
all the requirements

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from the greatest teacher in my
opinion, Arturo de Ascanio

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the concept of economy and
clarity, always in balance

03:49.320 --> 03:52.480

very subtle and delicate that you
have to find in every trick

03:52.480 --> 03:57.480

because there's no template so you
have to become aware of it

03:57.480 --> 04:00.020

so you can find that constant balance

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to be able to see the whole trick

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in clarity, economy and the slowness

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if something cannot be done
slowly it doesn't mean

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that it has to be done slowly, but
if you can't measure the rhythm

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then it hasn't been well conceived

04:18.040 --> 04:21.460

I explain, it is not mandatory
to do everything slowly
04:21.460 --> 04:25.160
but you have to be able
to do it in a rhythm

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that can be beneficial for you

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because of the patter, the structure,
the cover or whatever

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so there's a tendency to dominate the trick

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you rule over the trick and the
trick can never rule over you

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because otherwise the you end up with
what he called the "maquinita"

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and that was inspired by Dai Vernon

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because when he did a sleight,
in order to cover it

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it needed another, and then
another so it went like...

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until the trick was over so there
were no pauses, no times

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no resting zones, where you can relax

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and just stop for a certain amount
of time and then continue

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measuring it artistically and dramatically
according to the circumstances

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so let's start with a trick,
here I wrote 4 things
05:24.680 --> 05:30.060
"some tricks are always with us
and we put into them the"

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-what does it say?
-"the distillation of what we are

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having time as an ally"

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its a beautiful phrase if you say
it like you're improvising

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but I couldn't, but keep it because
it's beautiful, so let's start

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I'll start with the spread triumph

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I have a funny story with Lennart Green
in Mexico we went there with

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with... whats your name?
Dani? yes, Dani daOrtiz

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every morning in the hotel I do the trick
for him and he goes like this

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I don't speak English so he just went
like that, so I did it again

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and we spent the whole morning like
that, he loved the move

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so it left a good taste in my mouth,
so the trick goes like this

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someone picks a card, anyone

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look a it, remember it, the classic
procedure, and put it back

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it is very important that everybody
sees the card

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so we square it and we cut
and shuffle like this

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well shuffled like this

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all cards well shuffled all the way

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this would be the traditional shuffle,
but there's another way

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were some of the cards go face down
and some of the cards go face up

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and now we shuffle the same way, cards
face up and cards face down

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so inevitably there are cards face
up and face down all mixed up

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but it's just a matter of snapping
the fingers over the deck

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the only snap you'll see in the lecture,
it only works for this, there

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so all the cards collude and turn
themselves in the same direction

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well, not every cards, all but one
because the deck remembers you

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because the deck remembers you.

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-what was the card?
- Ace of hearts

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and there you have exactly
the Ace of hearts

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this is as a great example, my version of the triumph

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what Lennart wanted to do all the time
was the secret packet turnover

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many interesting things about this trick

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one is that it came out years ago
when there was an idea

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of turning the packets in opposite
directions, something like this

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but I didn't like that at all

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so I started looking for an
answer and I found this.

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and always thanks to Ascanio because
he could conceptually position you

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this has a lot to do with creative processes
so reading over the years

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for example a very interesting
but complicated author

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called Luigi Pareyson, I don't
know if that rings a bell

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Umberto Eco's book "the open
work" is based on him
08:55.380 --> 08:56.900
published during the 70's

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there he talks about the "formed
work" and the "forming work"

09:00.040 --> 09:03.380

so I'm using big words here but
when you know the meaning

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you stop being afraid. So he says
there are two processes

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the process of the created work

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and the process while the work
is still yet to be revealed

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so he says that the artist's
view is very foggy

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and as he gets closer, the
view becomes clear

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he is zoning in what he wants

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but the end itself is always blurry,
if you can see the end clearly

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maybe its not a good sign, the
creative process is very blurry

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but what you can see clearly
is what you don't want

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and Ascanio was great about that
because you were always aware

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so you always know what you don't want
09:43.180 --> 09:46.920
so once you've placed all your "don'ts"

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the fog starts to clear out
and the formed work

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starts to appear in front of your
eyes and then you refine it

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until it's done

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So Ascanio is very good at that and
has great guidelines to follow

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so this is one of the first versions of
the triumph that I released

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around 20 years ago, well for me
everything is 20 years ago

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because now I'm old enough so that
everything around me is old

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anyway

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this meets a condition that
I think is essential

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for the internal inspiration and natural
suppression of the inner self

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and also to communicate better
to the audience, which is

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tricks must be beautiful both inside
and outside, not only outside

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so on the outside it can be great
10:32.920 --> 10:34.940
whatever you want

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but when you feel how the moves, techniques
and the handling flow together

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and how they develop

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which is what happens with
this trick it was a lot drier

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internally,

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but I didn't have any pretensions when
I started to conceive the idea

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if you're sensitive to it and you need it.

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then the inner and outer structures
come together aesthetically

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and that is very inspiring to
share and communicate

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which is the real reason why
people should do magic

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that you can't not do it, a lot of
writers and artists say that

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like in "letters to a young poet"
by Rainer Maria Rilke

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one of the first questions he asks a young
poet whom he writes letters to

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he asks the essential question.
could you not write poetry?
11:27.140 --> 11:31.940
if you can then don't do it.

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it makes no sense, so, can
you not do magic?

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because if you can then
look for something else

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that's how it is

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so let's talk about the trick

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it comes from how the techniques
come together in this version

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and what Ascanio called the gliding
look which a subtle concept

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the look glides because

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it like surfing on top of the aesthetics

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that's being expressed through the handling

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it's not beautiful or aesthetic
in the literal sense

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it's just like Juan (Tamariz) talks
about the implicit humor

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curiously nobody talks about
the implicit beauty of a trick

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which is something that beats
and comes from inside

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it's not like you have to embellish
it or do something

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to give it an added beauty

12:28.980 --> 12:34.140

just like the implicit humor, if you add a
joke, it comes from outside

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and Juan (Tamariz) talked about
the implicit humor

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which the most powerful cover and
that comes from the trick itself

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from the absurd comes the laugh

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or with any another ingredient
of dramatic character

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it can also have that which is
inherent to the trick itself

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it comes out of its own construction

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and while you build it you can look for it

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that subtle beauty that causes
the gliding look

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which is a detached and carefree
look about the trick

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which is the same needed
in an aesthetic experience

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there has to be a moral, technical
or practical distance

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so you can focus on the magic and
whats essential to the trick

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if you see a painting with
a couple of peasants

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burying their dead child in
a barren landscape

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with a wooden cart that you can see
was used to move the body

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beyond all that tragedy with
dark shades and sadness

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if you only focus on the theme then you
won't see the aesthetic form

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you won't see it

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you have to learn to distance yourself
and change the way you look at it

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in magic we have to incite
that point of view

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we cannot wait for it to come, we
have to suggest it ourselves

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and in this case is the aesthetic
or the magic look

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the way of constructing or composing

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looking for a gliding look
achieves just that

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it helps so that everything can be seen

14:07.220 --> 14:10.420

all the ingredients must be
in their right proportion

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if you put more pepper than salt something
it's not going to work out

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it's a balance between the whole of them,
not just one over the others

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it's just the right amount
of each ingredient

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that also appear to be constant
and permanent

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because even if doctors tell
you you can't have salt

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it's difficult to quit because
it's used for everything

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so it's similar to that, there are ingredients
that have to be there

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then the attitude, personality
and how you present it

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has to do with other factors

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but on a composition level it doesn't

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so let's try to express
this idea right here

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this came from some modifications
of well known techniques

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it also has to do with the magic courses
14:58.740 --> 15:00.360
I used to teach 9 years ago in Barcelona

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because I have the privilege of going
40 times through the same place

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where most magicians don't go
because they don't have to

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I revisit the Vernon's books
many times a year

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so I know every crack,
every building block

15:17.960 --> 15:23.960

every alley where people
only go through once

15:23.960 --> 15:30.040

so I know everything about the
trick and I keep on looking

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and I get insight that is impossible
to get unless

15:34.380 --> 15:38.220

you go back to it frequently and
that also other can understand

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if you can teach it to others is
because you've understood it

15:44.980 --> 15:50.740

but if you can't then you don't
understand it enough

15:50.740 --> 15:54.980

to be able to explain it to someone else

15:54.980 --> 15:56.900

so teaching classes is great

15:56.900 --> 16:03.080

I think that every magician should at
least teach for a couple of years
16:03.080 --> 16:07.220
because then you can learn a lot and
show all the folded knowledge

16:07.220 --> 16:12.220

because knowledge folds itself,
it becomes unconscious

16:12.220 --> 16:15.860

and then you don't know why do you
place the deck a certain way

16:15.860 --> 16:19.220

I remember when I had to teach the spread

16:19.220 --> 16:19.340

I used to say that bicycle
cards spread themselves
I remember when I had to teach the spread

16:19.340 --> 16:22.340

I used to say that bicycle
cards spread themselves

16:22.340 --> 16:27.140

and this guy could not get it
it looked like packets

16:27.140 --> 16:35.120

it looked like little packets.
so why it isn't working?

16:35.120 --> 16:40.820

and this was very interesting because
the reason was so simple

16:40.820 --> 16:43.380

he wasn't applying pressure

16:43.380 --> 16:45.820

does it look dumb?

16:45.820 --> 16:49.300

well I didn't knew how to teach
the spread correctly

16:49.300 --> 16:56.340

because to me applying pressure was
second nature so I didn't notice

16:56.340 --> 17:01.340

the gradual pressure with which you
release the cards in a spread

17:01.340 --> 17:06.340

or on a fan which are another
type of spread

17:06.340 --> 17:11.340

is a closed extension, when
you teach a fan

17:11.340 --> 17:13.340

and you say that the hand acts as
a mat and they must be spread

17:13.340 --> 17:16.340

so that they can go through the
thumb the change is amazing

17:16.340 --> 17:19.100

that process of unfolding the knowledge

17:19.100 --> 17:23.280

is very fascinating so I recommend a lot
to spend some time like that

17:23.280 --> 17:29.200

while growing up in magic, let's go back
to the trick, a card is chosen

17:29.200 --> 17:36.660

and now er are going to change the
concept of the LePaul fan control

17:36.660 --> 17:40.140

first is that I came back to this which
I hated when I started

17:40.140 --> 17:44.080

I though it looked awful

17:44.080 --> 17:49.080

it feels like the deck is growling

17:49.080 --> 17:51.980

but this has an upside too because
you can place the card anywhere

17:51.980 --> 17:55.340

so there's a free choice right there

17:55.340 --> 17:57.460

now you get to the pre-technique

17:57.460 --> 18:03.740

the pre-technique is the
pre-elmsley pre-double lift

18:03.740 --> 18:09.040

pre-control, pre-force pre-everything
and that's very good

18:09.040 --> 18:12.780

is good to understand and
justify all techniques

18:12.780 --> 18:15.100

so now you show the card to everyone

18:15.100 --> 18:17.780

and now you push it in
really, not halfway.

18:17.780 --> 18:22.400

this is crappy, and for this you
can be kicked out of magic

18:22.400 --> 18:25.220

it should be illegal and unconstitutional

18:25.220 --> 18:29.900

so if you do it you'll hear "I'm sorry
sir but you are banned for life

18:29.900 --> 18:35.960

go collect stamps or something but
stop messing with this crap"

18:35.960 --> 18:41.100

I'll change the card if its
ok, so push the card in

18:41.100 --> 18:44.100

and understand why you have to push it,

18:44.100 --> 18:45.620

because the top and bottom
cards must go down

18:45.620 --> 18:47.300

in order for the plunger to work

18:47.300 --> 18:51.900

when I understood this I realized how dumb
I was and how dumb are most

18:52.000 --> 18:53.860

this is the principle

18:53.860 --> 18:58.820

so when this moves, this card
comes out, this goes like this

18:58.820 --> 19:05.020

wait I'm going to do it the right way

19:05.020 --> 19:08.860

it goes like this, when you push
this card while pressing

19:08.860 --> 19:10.020

all of this comes down

19:10.020 --> 19:13.940

and now when you square
by turning it this turns

19:13.940 --> 19:18.600

around and when you squeeze
the card will come out

19:18.600 --> 19:23.320

it's very simple and its genius

19:23.320 --> 19:25.460

so you have to understand why it happens,

19:25.460 --> 19:28.780

and I think almost no one
uses this control

19:28.780 --> 19:31.380

first because I think is intimidating

19:31.380 --> 19:35.040

because some don't understand the move
so they just push in the card

19:35.040 --> 19:37.140

and if it doesn't work?

19:37.140 --> 19:44.620

well then practice more,
is easy to undertand

19:44.620 --> 19:49.540

but if you know the procedure you can
understand the work you're doing

19:49.540 --> 19:53.900

you check visually that it worked and
there's nothing to be afraid of

19:53.900 --> 19:58.900

now you have to squeeze here and the card
will come out, it always works

19:59.840 --> 20:03.900

not that time because I was showing you
how it fails but it always works

20:03.900 --> 20:09.380

there it is, trust me and you'll
see how life is good

20:09.380 --> 20:17.200

it works it works, I'm just
joking, this is enough

20:17.340 --> 20:20.860

well after that you can shuffle
in the hands or whatever

20:20.860 --> 20:26.660

I'll show you a variation that I like

20:26.660 --> 20:29.340

you do this, and now all you
have to do is push it

20:29.340 --> 20:32.880

how you square it is not important

20:32.880 --> 20:35.340

the position of the deck
doesn't matter either

20:35.340 --> 20:41.560

what matters is that the card
is somewhere around here

20:41.560 --> 20:50.260

so the Idea is that you push
with your index finger

20:50.260 --> 20:50.300

or with the other middle finger
20:50.300 --> 20:55.300
the card comes out the other side,
you separate it and shuffle off

20:55.300 --> 21:01.100

done lightly it would look like this,
and now it's on the bottom

21:01.100 --> 21:05.380

is a great evolution of the LePaul control
that has been overlooked

21:05.380 --> 21:09.260

if you have not analyzed a sleight

21:09.540 --> 21:16.360

it's difficult to overcome that limit,
it's good to know how it works

21:16.360 --> 21:18.740

the magician cannot go
down to the level of

21:18.740 --> 21:22.960

just pushing a button and turning on
the TV and then forget about it

21:22.960 --> 21:26.880

no, you have to open the TV
and see how it works

21:26.880 --> 21:30.380

you have to know and understand
what you have in your hands

21:30.380 --> 21:34.880

so in this case the Vernon secret turnover
was perfect for this trick

21:34.880 --> 21:43.600

so the chosen cards, now pressing with the
thumb, now you see it worked

21:43.600 --> 21:50.140

now you close it and this should
not disturb the card

21:50.140 --> 21:52.720

and now you move it to take it like this

21:54.640 --> 22:00.620

I did something wrong, I'm sorry.
the queen of diamonds

22:00.620 --> 22:05.980

pushing in, I see it, I close it, it
must protrude out the front

22:05.980 --> 22:08.980

you can see it makes a curve like this

22:08.980 --> 22:11.700

now we got to the table, press
with the index finger

22:11.700 --> 22:14.660

we push and they come out this side

22:14.660 --> 22:23.540

this is enough to make a step, I'll make
it bigger so you can see it

22:23.540 --> 22:29.800

it's very fascinating, so now when we
press using only the ring fingers

22:29.800 --> 22:34.080

we are doing a diagonal
insertion on the table

22:34.080 --> 22:42.660

if I do this, this is the diagonal insertion,
this comes down straight

22:42.660 --> 22:45.260

I call this "fluid technique"
thanks to de Bono

22:45.260 --> 22:51.380

why fluid? because you create an action

22:51.460 --> 22:58.180

and the card can't not go through
the pre-established route

22:58.180 --> 22:59.820

and that comes from the shape of the hand

22:59.820 --> 23:04.540

we place the fingers, apply pressure
and the card outjogged

23:04.540 --> 23:07.940

so that precision is what
guarantees the handling

23:07.940 --> 23:09.400

for example of the diagonal palm shift

23:09.800 --> 23:13.460

which you can do at regular speed because
you don't have to dress it up

23:13.460 --> 23:16.680

when you set a course of action

23:16.680 --> 23:20.180

the card without thinking about it
can't not do what it has to do

23:20.180 --> 23:22.140

at the time it has to do it

23:22.140 --> 23:27.060

you can do it without running or any
pauses, that's fluid technique

23:27.060 --> 23:29.340

and here it happens the same,
when you know the procedure

23:29.340 --> 23:34.860

it happens the same, if you do a
diagonal insertion from the table

23:34.860 --> 23:38.060

then the card will go in diagonally

23:38.060 --> 23:40.780

so the great thing about step on the table

23:40.780 --> 23:46.160

is that no matter how big it
is it always works

23:46.960 --> 23:52.060

but seriously, the 7 of clubs,
let's take it to the extreme

23:52.060 --> 23:59.360

there, wait let's square it first, the 3

24:01.140 --> 24:08.100

it's ok? so now I push it,
I hold it so I don't lose it
24:08.100 --> 24:11.280
and now I form a break there
it is, the 3 of clubs?

24:11.280 --> 24:19.460

there it is, but there are reasons for
that, because as small as it is

24:19.460 --> 24:27.180

when the card goes in it can't do anything
else, only the ring fingers

24:27.180 --> 24:31.560

on the outer end, just like the
push through shuffle

24:31.560 --> 24:35.900

now you have the injog and you
hold it with the index fingers

24:35.900 --> 24:38.820

so you don't lose it when
trying to find it

24:38.820 --> 24:42.360

now if you lift your thumb
there is a long card there

24:42.360 --> 24:46.340

that's all there is, is a long card,
so I take it and that's it

24:47.100 --> 24:51.880

and other stuff like "cut, please"

24:51.880 --> 24:54.560

wait, now cut

24:56.560 --> 24:59.100

this would be here, so you do this

25:00.720 --> 25:05.100

it's the same, I push it
forward, I place it on top

25:05.100 --> 25:08.020

and now I can make the jog

25:10.960 --> 25:16.560

this can be a lot smaller, I take the jog,
I cut and bring it to the top
25:17.420 --> 25:21.480
or what this guy did

25:22.820 --> 25:26.640

what's his name? the famous gambler

25:27.380 --> 25:30.680

Steve, Steve Forte

25:30.680 --> 25:34.860

he made the jog here, the rest
doesn't matter

25:37.080 --> 25:42.000

so it's all the same, now with 8 of hearts

25:42.000 --> 25:51.700

LePaul, there it is, cut and now
it's automatically in place

25:51.700 --> 25:53.320

for the Vernon secret turnover

25:53.500 --> 25:58.340

a good detail to keep in mind it's
better if there's continuity

25:58.340 --> 25:59.360

so make a spread

25:59.360 --> 26:04.100

when this comes back this hand
is already waiting and covering

26:04.100 --> 26:06.620

I made a mistake there's two cards there

26:06.620 --> 26:09.220

so let's try to equalize the packets

26:09.220 --> 26:15.160

this depends on where you subtly force
the spectator to put the card in

26:15.160 --> 26:19.620

so now you drop one card

26:19.620 --> 26:25.460

now the spread, and when you come back,
and when you are squaring it

26:26.320 --> 26:29.740

this is waiting, this is the welding

26:29.740 --> 26:36.520

and the Ascanio welding improves sleights
because they are done in transit

26:36.520 --> 26:41.220

and then the move is done, I assume you
all know the Vernon turnover

26:41.220 --> 26:44.940

and is in transit, and now
another good detail

26:44.940 --> 26:48.040

and is in transit, and now another good detail,

26:48.040 --> 26:53.800

finish always with the ring
fingers, not like this

26:53.800 --> 26:58.800

because you can end up
looking like an idiot

26:58.800 --> 27:00.100

we've done great
up until this point

27:00.100 --> 27:02.140

they took the card, the
Lepaul control is great

27:02.140 --> 27:04.460

it went to the table, it
was cut and shuffled

27:04.460 --> 27:06.320

so I'm sure that the feeling that is
produced in the spectator

27:06.320 --> 27:10.260

is very clean, the card
is lost, it disappears.

27:10.260 --> 27:12.740

and people feel that way

27:12.740 --> 27:17.180

it's not enough that it looks like
you have a coin in your hand
27:17.180 --> 27:20.500
they have to feel that
the coin is in the hand

27:20.500 --> 27:23.560

and that is a lot harder
than a false placement

27:23.560 --> 27:25.060

and that takes a lot of work

27:25.060 --> 27:29.020

doing this is a joke, this is just
to fool, and it's very crappy

27:29.020 --> 27:32.880

in order to be artistic the spectator must
feel that the coin is there

27:32.880 --> 27:35.500

there must be something
that maintains the feeling

27:35.500 --> 27:37.700

so that the spectator can't fight it

27:37.700 --> 27:41.700

the intellect can argue with
itself or with others

27:41.700 --> 27:44.920

but feelings can't question
anything, if it is then it is

27:44.920 --> 27:47.180

so if the spectator feels
that the coin is there

27:47.180 --> 27:48.100

then there's no discussion possible

27:48.100 --> 27:49.520

when you open your hand they'll die

27:49.520 --> 27:51.780

because he brought that himself

27:51.780 --> 27:54.820

when it has to do with hindsight,
reason or the intellect

27:54.820 --> 27:55.380

that's what you bring

27:55.380 --> 27:58.660

and you can't convince anyone
because you are the magician

27:58.660 --> 28:02.600

the trickster, and so how could
you convince anyone?

28:02.600 --> 28:06.940

"well shuffled deck" well if you say
it then I don't believe you

28:06.940 --> 28:10.740

but if you feel that this
is a shuffled deck

28:10.740 --> 28:14.460

and I get you ty you bring
that to the table

28:14.460 --> 28:16.940

and then I might not even
have to say anything

28:16.940 --> 28:19.380

so then we save words because
we magicians talk too much

28:19.380 --> 28:21.320

to say the same thing

28:21.320 --> 28:26.900

we are the kings of repetition, don't square
using ring and middle fingers

28:26.900 --> 28:30.180

because this is what happens

28:30.180 --> 28:35.620

can you see the card? I can't see it,
I'm sitting here like a god

28:35.620 --> 28:41.060

and everybody is looking at the card

28:41.060 --> 28:45.260

like a complete idiot

28:45.260 --> 28:48.400

and the card is showing, the guy
must be dumb obviously

28:48.400 --> 28:53.700

so you can never see it, and that happened
to me luckily with a student

28:53.700 --> 28:55.820

he said "I can see the card" and I said

28:55.820 --> 28:58.300

"you can't see anything you
don't know what I did"

28:58.300 --> 29:00.320

I always get mad first and then

29:00.320 --> 29:03.580

then I apologize

29:03.580 --> 29:09.120

so when I go like this and see it
my jaw dropped to the floor

29:09.120 --> 29:14.120

and all because of squaring like
this it may or may not happen

29:14.120 --> 29:21.580

so is very dangerous it's just
like a double on the table

29:21.580 --> 29:28.500

imagine that you can see it
perfectly from this angle

29:28.500 --> 29:31.140

but from here or here you can't see it

29:31.140 --> 29:33.500

so it's very frightening to think about it

29:33.500 --> 29:36.580

so the once the card is reversed come
the sleight that Lennart loved

29:36.580 --> 29:39.040

cut less than half from the top

29:39.040 --> 29:45.360

move both packets at the same time, don't
move just one, now spread them
29:45.360 --> 29:49.580
so this packet moves forward,
and does the butterfly wings

29:49.580 --> 29:54.260

and if that's not the name I'm
sorry, I just call it like that

29:54.340 --> 30:00.820

so we fan the cards outwards
so we can have a margin

30:00.820 --> 30:02.400

so the reversed card remains unseen

30:02.400 --> 30:08.420

that takes a little delicateness, and
this is more interesting if

30:08.420 --> 30:16.720

instead of guiding it with your
fingers just press on it

30:16.720 --> 30:23.700

so without using the finger just pressure

30:23.700 --> 30:27.700

it's more interesting, now it's
the game of susceptibilities

30:27.700 --> 30:29.560

it must be economic, clear

30:29.560 --> 30:31.620

and you must be able to do it slowly,
if you can't do it slowly

30:31.620 --> 30:36.360

then it doesn't fit the bill

30:36.360 --> 30:39.060

so maybe you need more analysis
or you have to get rid of it

30:39.060 --> 30:41.940

so cards face up and face down

30:41.940 --> 30:47.420

cards faces and cards backs,
the obtuse idea

30:47.420 --> 30:54.000

which fits very well because in the
misdirection levels of Ascanio

30:54.000 --> 30:55.580

between two points of interest

30:55.580 --> 30:58.540

dissolution, were both
are equally interesting

30:58.540 --> 30:59.980

Attraction, were one is more interesting

30:59.980 --> 31:02.300

until here, where both are in
the spectator field of view

31:02.300 --> 31:04.760

the third is complete deviation

31:04.760 --> 31:07.300

where one attracts all the attention

31:07.300 --> 31:11.020

and leaves the other one out of the field of view

31:11.020 --> 31:13.580

I think it's very clear

31:13.580 --> 31:17.080

Ascanio said that the third level
did not occur in magic

31:17.080 --> 31:19.340

I think that he made a mistake there

31:19.340 --> 31:22.260

but I think we are lucky that
his mistakes were good

31:22.260 --> 31:27.060

so even at that he was good,
that's food for thought

31:27.060 --> 31:32.700

so even when he was wrong
he gave good advice

31:32.700 --> 31:40.160

but something that is not specified
in the Ascanio Conception
31:40.160 --> 31:42.940
is that these points of interest
can be both physical

31:42.940 --> 31:45.160

mental or one of each

31:45.160 --> 31:46.700

but they're still points of interest

31:46.700 --> 31:49.700

you divide where they look on one hand

31:49.700 --> 31:52.320

and the mental attention on the other

31:52.320 --> 31:53.900

when you use an obtuse idea

31:53.900 --> 31:55.720

what happens is that the spectator attention goes inside

31:55.720 --> 32:00.100

if the spectator's looking inside you can
do a top change with the guy looking

32:00.100 --> 32:02.960

was that your card? no, is your name Pepe?
yes, what was the card? there

32:02.960 --> 32:06.100

he doesn't see anything because
he's looking inside

32:06.100 --> 32:10.340

and that's very hard because
we are very pragmatic

32:10.340 --> 32:13.700

if people are not clapping or laughing it
means that they're not liking it

32:13.700 --> 32:16.260

and sometimes we are not
capable of understanding

32:16.260 --> 32:19.440

the journey that we can take
the spectator through

32:19.440 --> 32:21.060

if they don't move is
because it isn't there

32:21.060 --> 32:25.860

it's like a joke where nobody reacts

32:25.860 --> 32:27.220

but you don't know if
they're reacting or not

32:27.220 --> 32:30.980

we have a long way to reach the point

32:30.980 --> 32:34.380

were you can tell they're
dying on the inside

32:34.380 --> 32:39.960

even if they don't show it externally
it's still happening

32:39.960 --> 32:45.020

I've never seen a guy reading a novel

32:45.020 --> 32:45.940

finishing a chapter by clapping
and screaming

32:45.940 --> 32:52.260

no, the guy just keeps reading well it's
difficult to understand that

32:52.260 --> 32:58.940

and not be so physical,
it's very difficult

32:58.940 --> 33:01.420

the introspection very is
difficult to understand

33:01.420 --> 33:02.780

but we would have to fight for it

33:02.780 --> 33:05.860

face up cards and face down
cards, we divide the attention

33:05.860 --> 33:08.960

we say cards face down and...?

33:08.960 --> 33:13.580

and now, very slowly, one hands
comes to the border of the table
33:13.580 --> 33:18.580
and lifts from behind while
the other just tilts

33:19.440 --> 33:27.200

but in the end it gives the sensation
of being in harmony

33:27.200 --> 33:31.840

that both hands are moving the same
way, there's a visual deception

33:31.840 --> 33:35.760

but you can't do this, because then you
can see clearly it's different

33:36.740 --> 33:40.760

with this you can do the Kaps force
from the secret agenda

33:40.760 --> 33:45.140

it's the same, you have to work
in a sequence of actions

33:45.140 --> 33:47.240

oriented in the same direction so it works

33:47.240 --> 33:50.740

so there must be something
that tells the spectator

33:50.740 --> 33:53.820

that you can do it slowly and its done

33:53.820 --> 33:58.820

so I spend the whole afternoon
doing this for Lennart Green

34:00.360 --> 34:05.800

he loved the fact that it was slow, you
have to learn how to do it slowly

34:05.800 --> 34:12.780

and trust it, if the magic conception
and the cover mechanisms

34:12.780 --> 34:17.200

exist and work then we have to trust them

34:17.200 --> 34:20.180

or rethink about it
34:20.180 --> 34:22.800
does the spectator looks where the
magician looks? yes or no?

34:22.800 --> 34:27.140

well trust it, use it, apply it

34:27.140 --> 34:30.420

if you move attention
in between two points

34:30.420 --> 34:33.060

the spectator doesn't see
the small discrepancies

34:33.060 --> 34:36.020

in between one and the other. yes or no?

34:36.020 --> 34:40.380

the transit action is a cover where the
spectator goes into the future

34:40.380 --> 34:43.600

so it doesn't see the present and
then you do the sleight

34:43.600 --> 34:45.160

- does it works or not?
- yes

34:45.160 --> 34:50.160

then apply it, feel comfortable
and confident about it

34:50.160 --> 34:57.540

because it's all you've got, and this
I call the "yes or yes" cover

34:57.540 --> 35:06.860

there's nothing else, this is always
covered and is for everybody

35:06.860 --> 35:11.760

it's not that "almost everybody believes it"
that's not acceptable

35:11.760 --> 35:15.580

where is your ethic? your job is
to make everyone believe

35:15.580 --> 35:17.300

and at least have the intention

35:17.300 --> 35:20.720

don't defeat yourself before trying it
if after that you can't do it

35:20.720 --> 35:25.440

the world is what it is, this
has some limitations

35:25.440 --> 35:29.660

and that's what makes magic
so peculiar and colorful

35:29.660 --> 35:34.120

but if you give up before
starting then we're all screwed

35:34.120 --> 35:36.220

you have to have the intention

35:36.220 --> 35:39.840

that it works for everybody always

35:39.840 --> 35:41.340

I give you an example

35:41.340 --> 35:47.240

like this, I'll deal some poker hands

35:47.240 --> 35:49.500

you can discard any card you like

35:49.500 --> 35:52.000

and from these tell me which
one you want me to have

35:52.000 --> 35:56.440

everybody misses it, if you do this,
maybe somebody will see it but

35:56.440 --> 36:02.540

but if I tell you "out of these" first the
frame and then the background

36:02.540 --> 36:04.760

now everybody misses it

36:05.480 --> 36:08.660

yes or yes, everybody misses
the secret turnover
36:08.660 --> 36:11.700
that's the key to the whole thing

36:11.700 --> 36:16.380

you have to try and find
the maximum cover

36:16.880 --> 36:20.600

let's see if we can finish the trick

36:22.020 --> 36:27.580

so the spread, very slowly

36:28.200 --> 36:31.540

we put them down and now instead
of doing a closed shuffle

36:31.540 --> 36:33.160

because it wasn't closed before

36:33.160 --> 36:36.020

to maintain the the formal
unit of the trick

36:36.140 --> 36:38.840

I prefer not to lift it too much

36:39.060 --> 36:47.140

I release the face up packet first so
it covers a little on the side

36:47.140 --> 36:53.740

so one packet is higher than the other

36:53.740 --> 37:00.000

covering one another. hey! pay attention

37:00.000 --> 37:05.000

I do this thing to show cards
face up and face down

37:05.000 --> 37:08.420

very clearly, now.

37:08.420 --> 37:13.020

if you do this and spread right away

37:13.020 --> 37:13.900

people can tell that this card
came from here

37:13.900 --> 37:16.260

they know, they can feel it

37:16.260 --> 37:19.500

because we spend our loves estimating
distances, weights, heights

37:19.500 --> 37:20.660

everything

37:20.660 --> 37:27.080

all the time, even when you sit you
estimate the height of your butt

37:27.080 --> 37:34.020

a step it's measured so you can bend
the knee and not hurt your back

37:34.020 --> 37:39.020

we estimate all the time and do it
automatically, we are very good at it

37:39.020 --> 37:45.780

so if you do this, the spectator can
tell where it came from the top

37:45.780 --> 37:48.820

careful with those details

37:48.820 --> 37:53.060

so we do the multiple Vegas
cut which is totally false

37:53.060 --> 37:59.900

and now you can show some cards face
up and some face down and a last cut

37:59.900 --> 38:05.740

and leave it there, so we are putting a
veil to what the spectator sees

38:05.740 --> 38:12.220

this is like when you do an Elmsley count
and the last card is seen twice

38:12.220 --> 38:19.620

if you put a veil on it that helps to hide
that, so all the black cards

38:20.860 --> 38:25.380

so you see the first three and then
you break the attention
38:25.380 --> 38:26.360
and now you continue

38:26.360 --> 38:30.380

if you do this its likely that
he can see something

38:30.380 --> 38:33.340

but of you break the attention

38:34.080 --> 38:37.620

so do it like this, don't
do this and then that

38:37.620 --> 38:40.760

it doesn't work like that

38:40.760 --> 38:45.540

go out showing the back and
it's not reveal until later

38:49.260 --> 38:53.960

and then its just a matter of presentation

38:53.960 --> 38:56.020

I like the idea of the cards colluding

38:56.020 --> 38:58.660

together because it has an
animistic component

38:58.660 --> 39:01.500

all in one direction except one,
well don't say "except one"

39:01.500 --> 39:05.200

because that's descriptive and we have
to try and show but not describe

39:06.200 --> 39:16.280

so if all the cards orient themselves
face up, and then

39:16.280 --> 39:19.220

very slowly to create what
Ascanio called "atisbo"

39:19.220 --> 39:24.020

this is a surprise. the atisbo is a
surprise stretched over time

39:24.020 --> 39:29.020

it's slower than the surprise

39:29.720 --> 39:35.420

and that is more delightful
I find it fascinating

39:35.420 --> 39:41.460

so then you say all but one because
the deck remembers you

39:41.460 --> 39:49.100

and that is a gift from the gods,
you have given him a gift

39:49.320 --> 39:56.340

that it's called elegance and
that's what we're doing here

39:56.340 --> 39:59.880

and we are giving it to the spectator
because it remembers you

39:59.880 --> 40:01.300

what could remember about you?

40:01.300 --> 40:06.500

what was your card? the 8 of hearts, and
that gives meaning to the trick

40:06.500 --> 40:16.540

thank you very much thank you very much

40:18.640 --> 40:24.260

this could be longer, another? or we
leave it at this? another? yes

40:24.260 --> 40:32.560

well among all of the triumphs

40:32.560 --> 40:40.200

there was another version that is very
interesting but over the years,

40:40.200 --> 40:45.300

just like Juan Tamariz said
about the royal assembly

40:45.300 --> 40:46.900

he said he started studying Al Koran

40:46.900 --> 40:51.660

then he published it in magia potagia
40:51.660 --> 40:57.540
I've always loved the fact
that with this tricks

40:57.540 --> 41:08.260

the masters would not
only explain the trick

41:08.260 --> 41:16.460

but they would also explain
the story behind it

41:16.460 --> 41:20.680

and how they arrive to that point

41:20.680 --> 41:27.060

and the approaches they took,
that was more interesting to me

41:27.060 --> 41:30.120

than just reading recipes for tricks

41:30.120 --> 41:36.780

and Juan says that he studied Al
Koran's version for many years

41:36.780 --> 41:38.580

just to go back to the original version

41:38.580 --> 41:46.500

maybe with something extra but
mostly the same Al Koran's trick

41:46.960 --> 41:54.740

and with Vernon's triumph it's the same,
and also Vernon's cups and balls

41:54.740 --> 41:59.740

there are many good ones and funny ones but

41:59.740 --> 42:04.740

over the years I may have published over
30 versions of the triumph and

42:04.740 --> 42:12.040

and out of those there are
29 that are worthless

42:12.040 --> 42:17.040

there's Vernon's and 29 more, or the
68th version of slow motion aces
42:17.040 --> 42:21.480
because in the end Vernon's
triumph is number one

42:21.480 --> 42:28.240

I don't know a triumph that's better
than Vernon's, sorry Dani

42:28.240 --> 42:31.660

the open triumph is wonderful

42:31.660 --> 42:34.220

kiko's version where he waves
the hand over the deck

42:34.220 --> 42:36.300

those are challenges that
are good for magicians

42:36.300 --> 42:42.340

to break limits and see where we can
go, even to sometimes discover

42:42.700 --> 42:47.160

that no matter what you do
there are some limits that

42:47.160 --> 42:55.320

that are great for byplay and for
entertainment but inside you know that

42:55.320 --> 43:01.420

we have to work harder to achieve
the purest for of the triumph

43:01.420 --> 43:04.980

and for presenting it in
a way that hits people

43:04.980 --> 43:07.660

and that goes where it needs to go

43:07.660 --> 43:14.600

so now I'll show you something
else with a color separation

43:14.600 --> 43:19.600

I started with the red and
black cards separated

43:19.600 --> 43:24.600

so I had a card chosen, you can take one

43:24.600 --> 43:29.600

put it back, do you remember the card?

43:29.600 --> 43:36.580

and now let's have a red
card chosen as well

43:36.580 --> 43:41.580

and put it back

43:41.580 --> 43:46.580

I'll shuffle the cards together like this

43:46.580 --> 43:52.740

face up cards and face down cards, but

43:52.740 --> 43:57.620

all the black cards are face up and
the red cards are face down

43:57.620 --> 44:03.380

face up and face down all the way

44:03.380 --> 44:07.820

some face up, some face
down, a complete mess

44:07.820 --> 44:12.240

but all the face up cards are black and
all the face down cards are red

44:12.240 --> 44:18.080

no matter hat we do some cards will be
face up, some will be face down

44:18.080 --> 44:21.020

as you can see, a big mess

44:21.020 --> 44:24.380

however there are two cards
lost somewhere on the pack

44:24.380 --> 44:27.140

then if we wait a little, you'll
remember this

44:27.140 --> 44:29.380

all of the cards collude to turn
themselves in the right direction
44:29.380 --> 44:31.860
but now I have to go like this

44:31.860 --> 44:35.880

and only 2 cards remain face up which
are the 7 of diamonds and the

44:35.880 --> 44:45.220

5 of spades, and the curious thing is
that even with all the shuffling

44:45.220 --> 44:49.180

the colors are separated

44:49.180 --> 44:52.640

and the black card is between the reds
and the red is between the blacks

44:52.640 --> 45:00.440

it's very interesting

45:00.440 --> 45:04.960

of course, the triumph with the
spread is closer to Vernon's

45:04.960 --> 45:07.500

is more polished but in the
end it meets the criteria

45:07.500 --> 45:09.960

if you do the double back version

45:09.960 --> 45:13.260

and as long as you show the spread

45:13.260 --> 45:15.860

and show the cards and
square everything nicely

45:15.860 --> 45:18.300

is pretty much the same line of action

45:18.300 --> 45:24.060

and in the other version it's the same,
the inner method is different

45:25.180 --> 45:29.680

but all of this is the same, I do
something else instead of this

45:29.680 --> 45:34.060

but this is Vernon's, the fine
drawing that Vernon makes

45:34.060 --> 45:36.020

the external drawing is very similar

45:36.020 --> 45:42.160

internally is the method is different but
the formal structure of the trick

45:42.160 --> 45:47.160

Vernon nailed it, instead
this one is far far away

45:47.160 --> 45:52.160

this is another thing
entirely. by the way

45:52.160 --> 45:55.940

I have to check something here, I wrote
Zarrow but there's no Zarrow here

45:55.940 --> 45:58.500

you can tell I came well prepared

45:58.500 --> 46:05.320

that's my age, the color
separation is an anecdote

46:05.320 --> 46:10.320

it's very fun to do at the table when you
want to get out of the convention

46:10.320 --> 46:15.940

because sometimes it's good
explore and find new tricks

46:15.940 --> 46:20.940

but always knowing what
you're sacrificing

46:20.940 --> 46:23.740

so, you separate the cards by color

46:23.740 --> 46:27.080

or you arrive at this condition
from a previous trick

46:27.080 --> 46:30.780

somebody picks a red card, obviously
both cards are going to the top

46:30.780 --> 46:33.620

so on the right

46:33.620 --> 46:38.620

I do the elevator shuffle control

46:38.620 --> 46:44.500

an important detail in this shuffle that
you can find in card college

46:44.500 --> 46:46.820

and it has to do with the
hierarchy of the hands

46:46.820 --> 46:51.660

one hand holds the weight of the object

46:51.760 --> 46:53.620

and the other hand holds the meaning

46:53.620 --> 46:58.420

taking this into account changes the
spectators perception of a sleight

46:58.420 --> 47:03.180

in the elevator shuffle the hands that
holds the weight is the left

47:03.180 --> 47:08.020

and the hand that holds the meaning,
the intent is the right one

47:08.020 --> 47:13.020

that means that you can mark ups
and downs look at this

47:13.020 --> 47:17.180

but if I drop down and mark up here

47:17.180 --> 47:22.180

the sensation changes completely,
this is one thing

47:22.180 --> 47:29.260

this is more ethereal, and there's
another interesting thing

47:32.920 --> 47:36.900

not this one, it's prepared

47:36.900 --> 47:41.900

this one
47:41.900 --> 47:46.900
this one is ok. look at this,
a regular shuffle

47:46.900 --> 47:51.900

elevator shuffle, regular shuffle, elevator
shuffle, regular shuffle

47:51.900 --> 47:56.900

understand?

48:03.520 --> 48:08.060

the feeling, if the spectator feels
the deck is being shuffled

48:08.060 --> 48:11.420

it doesn't matter if it's
real or not, his reality

48:11.420 --> 48:14.220

what "is" doesn't matter, it only
matters what it looks like

48:14.220 --> 48:17.620

and what should it look like

48:17.620 --> 48:22.060

whatever it is it doesn't matter, in fact if
we were congruent in what we do

48:22.060 --> 48:26.320

we would always make false shuffles and
we would always force cards

48:26.320 --> 48:29.300

always, we shouldn't care,

48:29.300 --> 48:32.860

and the fact that we care means
we have a problem of concept

48:32.860 --> 48:36.060

and understanding of this property

48:36.060 --> 48:41.620

I can force cards all day long, what's the
problem? it looks the same

48:41.620 --> 48:43.540

it's a free choice or not?

48:43.540 --> 48:46.620

because when it's a free choice
we want a plus of honesty

48:46.620 --> 48:51.620

so we fell guilty or something
because that plus

48:51.620 --> 48:56.860

is telling us that something's
not right, so, the 7

48:56.860 --> 49:02.960

there are more symptoms we are screwed,
we have to take some medication

49:02.960 --> 49:04.940

the card is controlled to the top

49:04.940 --> 49:08.880

always try to make the
spectator put the feeling

49:08.880 --> 49:13.880

and over here we end with

49:13.880 --> 49:18.880

a double undercut but with a
bonus that's very interesting

49:18.880 --> 49:21.300

it's about the step,

49:21.300 --> 49:24.860

when we control from this position

49:24.860 --> 49:27.840

the fingers are vertical you
can see from the front

49:27.840 --> 49:35.380

the best is to make a step which
we can recover later and cut

49:35.380 --> 49:41.600

and it also allow you to do this and I
still have control over the step

49:41.600 --> 49:47.360

and this is because we bevel the
packet and the left fingers

49:47.360 --> 49:54.040

we put it half way in keeping the pinky
under the face card of that packet

49:54.040 --> 50:02.360

and now we tap the side with an open
hand against the left fingers

50:03.060 --> 50:08.940

so what happens is that
the pinky creates a step

50:08.940 --> 50:14.800

this is an interesting exercise,
if we can do this

50:16.000 --> 50:20.180

then you're doing it right, and
then we apply the "T"

50:20.180 --> 50:22.800

which is also in Giobbi's book

50:22.800 --> 50:30.480

which is the side opposite to the step

50:30.480 --> 50:35.480

and the vertical pressure
which doesn't affect

50:35.480 --> 50:37.460

it doesn't matter where the step is,

50:37.460 --> 50:43.020

here it does matter, it has to
be in the opposite side

50:43.020 --> 50:49.940

so I can do this. I lost your card, is
not this one right? take one

50:49.940 --> 50:56.040

I won't say it was a force but...

50:56.040 --> 50:59.320

and there you have it and can
do anything you want

50:59.420 --> 51:03.900

so I really think that you are
getting rid of things

51:03.900 --> 51:07.760

and there are many more around,
I'll give you another example

51:07.760 --> 51:12.300

the pinky break, the pressure
with the thumb here

51:12.300 --> 51:16.340

the moment you relax because
this pressure needs a attention

51:16.340 --> 51:21.100

when you relax it's over,
you're screwed

51:21.100 --> 51:25.180

I do the "presilla" I don't know what else
to call it so that's the name

51:25.180 --> 51:27.620

curl this finger around the deck because
this doesn't need any attention

51:27.620 --> 51:33.360

it won't move ever

51:33.360 --> 51:36.420

it reminds me of the locks on
some of the public bathrooms

51:36.420 --> 51:40.480

which turn like that, maybe
you've seen them

51:40.480 --> 51:46.580

but thi is it, it's uglier
but it won't open ever

51:46.580 --> 51:50.900

if you cover this side you can
stay like this until tomorrow

51:50.900 --> 51:52.340

and you can't see the break,
but here you do

51:52.340 --> 51:57.340

because the thumb relaxes
when you forget about it

51:57.340 --> 52:00.380

those are details that we need to consider
52:00.380 --> 52:05.380
we spread a little to cover the
top one, here it doesn't matter

52:05.380 --> 52:11.200

and now we do the Vernon shuffle,
drop one face up card

52:11.200 --> 52:16.680

finish the shuffle with a face down card

52:16.680 --> 52:21.820

so when lifting the packets transfer the bottom card

52:21.820 --> 52:24.440

from one packet to the other

52:24.440 --> 52:29.660

I don't know if you can see,
it's just tilting the deck

52:29.660 --> 52:34.660

and transfer, and down again

52:35.640 --> 52:39.100

so we square

52:39.820 --> 52:43.320

and the card is transferred without
the spectator noticing

52:43.320 --> 52:49.440

so now we can spread, or you can
spread first and transfer later

52:49.440 --> 52:53.120

here we keep going with
the Vernon shuffle

52:53.120 --> 52:58.640

push everything and now every card
is in the opposite packet

52:58.640 --> 53:00.860

the only thing left is to strip out

53:00.860 --> 53:05.700

catch a break and show faces and backs

53:05.700 --> 53:10.660

this I don't know if it's
from Marlo or not

53:10.660 --> 53:15.220

or from one of his students

53:18.600 --> 53:25.640

I can't remember, however this is
very important, is very easy

53:25.640 --> 53:29.660

and now you go back to the start

53:29.660 --> 53:34.300

but here there are cards that need to go
to the center of each packet

53:34.300 --> 53:40.220

now do this but the pick it up backwards
because here is the red card

53:40.220 --> 53:42.460

so instead of coming here we go there

53:42.460 --> 53:45.220

so one of the cards is already
in place in the center

53:45.220 --> 53:53.720

and for this other cut to a face up
card, cut at the other card

53:53.720 --> 53:59.820

and done, very economic, because
the other option was

53:59.820 --> 54:02.940

the typical reverse, zarrow shuffle

54:02.940 --> 54:06.940

and multiple cuts, instead this is
infinitely more economic

54:06.940 --> 54:11.820

the first effect, both selected
cards are reversed

54:11.820 --> 54:14.500

very interesting, but the
colors are separated

54:14.500 --> 54:19.760

but in top of that, as an encore, because
it's not really an effect

54:19.760 --> 54:25.000

the red an black change packets

54:31.920 --> 54:38.420

I' love to continue with a classic, a
trick that came out years ago

54:38.420 --> 54:42.380

very revolutionary on the line
of Roy Walton's oil and queens

54:42.380 --> 54:45.280

and then it came the water
and water, do you now it?

54:45.280 --> 54:50.560

water and water in which at the end

54:50.560 --> 54:55.940

I shouldn't say that, it's better if I
show instead of explaining it

54:55.940 --> 55:02.180

I'm a genius, so let's use some cards

55:02.180 --> 55:07.820

specially relevant because of the color

55:07.820 --> 55:11.360

very colorful

55:11.360 --> 55:21.500

like these ones, a lot of color,
I thinks this is ok

55:21.500 --> 55:26.700

so this is very easy to
follow, pay attention

55:27.440 --> 55:32.260

4 cards here and 4 cards over here

55:33.140 --> 55:35.100

I can't lie

55:37.300 --> 55:40.880

so, here we have some red cards

55:40.880 --> 55:44.380

and here we have some black cards
55:44.380 --> 55:46.940
so in case you don't know
the oil and water mix

55:46.940 --> 55:48.660

they mix and they?

55:48.820 --> 55:50.460

they separate

55:50.640 --> 55:54.420

but people don't
believe this but it does

55:54.620 --> 56:00.300

have you ever had a dream within a dream?

56:00.300 --> 56:05.460

I have, I've dreamed about
dreaming and then I wake up

56:05.460 --> 56:10.460

only to realize I'm still asleep and I
was in a dream within a dream

56:10.460 --> 56:16.900

have you ever had that? it's very
strong because you wake up

56:16.900 --> 56:21.540

and then you realize you're
still asleep, it's a rush

56:21.660 --> 56:26.240

I ask that because what you're about to
see you won't understand now

56:26.240 --> 56:30.180

it's good that you remember that this is
not a dream within a dream

56:30.180 --> 56:32.920

but an illusion within an illusion

56:33.340 --> 56:35.500

now it's impossible to understand why

56:35.500 --> 56:37.740

because until you wake up
from the first dream
56:37.740 --> 56:38.960
you won't know you're inside another one

56:38.960 --> 56:40.860

so until you wake up from the first illusion

56:40.860 --> 56:45.320

you won't see the second.
so let yourself go

56:45.320 --> 56:50.880

I'm just letting you know that you are in
an illusion within an illusion

56:50.880 --> 56:58.240

so if that's clear, then let's
alternate both colors

56:58.820 --> 57:10.260

I'll show it very clearly so you can see
how they alternate all the way

57:11.780 --> 57:19.220

now e deal for here and four there

57:19.400 --> 57:23.300

and now all we have to do it wait
and you won't believe it

57:23.700 --> 57:29.780

red red red and red, and black
black black and black

57:34.020 --> 57:38.680

one by one all alternating,
it looks like it but no

57:38.680 --> 57:45.900

now, you've been watching very carefully

57:46.460 --> 57:54.880

let's do it a second time, now
you know that you're looking

57:56.600 --> 57:59.880

that changes the experience a little

58:01.080 --> 58:03.100

now you know that you're looking

58:03.100 --> 58:06.720

before you were only
looking, now you know

58:07.420 --> 58:09.080

yes?

58:11.720 --> 58:16.720

same as before

58:19.000 --> 58:24.360

some here and some there

58:25.400 --> 58:29.720

now this is just to let people know
that the slaughter is coming

58:29.720 --> 58:39.040

look, just like that, all the reds are
here and all the blacks are there

58:43.580 --> 58:52.160

I remind you that you are in an illusion
within an illusion. one more

58:53.540 --> 59:00.900

look at how they alternate all the way

59:03.720 --> 59:12.020

1, 2, 3 and 4 and here,
does this sound familiar?

59:12.920 --> 59:20.180

now these cards are all red

59:20.300 --> 59:27.060

you know what? I feel restless,
you know why?

59:27.060 --> 59:31.300

because what is the second
illusion? well in reality

59:31.300 --> 59:37.740

the cards could never separate by color
because there are no black cards

59:37.740 --> 59:40.940

so it looks like it

59:40.940 --> 59:47.980

when you wake up from the first illusion
the you fin out that in the end
59:47.980 --> 59:50.440
you find out that in the end

59:50.440 --> 59:54.020

even though all the cards are red

59:54.020 --> 59:57.260

for moment it looked like
there was something else

59:57.260 --> 01:00:01.360

and that's it

01:00:05.040 --> 01:00:08.100

I've tried this patter for a couple of times and it's hard

01:00:08.100 --> 01:00:10.880

hard to understand for some people

01:00:13.180 --> 01:00:17.900

the metaphor with the dream within
another dream helps a lot

01:00:17.900 --> 01:00:22.900

but when I'm working on waking
them up from the first illusion

01:00:23.520 --> 01:00:25.740

so in the third phase I

01:00:25.740 --> 01:00:31.840

show all the red cards and then
I would have to ask, and here?

01:00:31.840 --> 01:00:34.700

and when they say black you reply with
no, that's the first illusion

01:00:34.700 --> 01:00:37.340

the other illusion is that there
are no black cards

01:00:37.340 --> 01:00:38.780

so they couldn't separate by color

01:00:40.700 --> 01:00:44.380

then ending has the limitation that you
can't who them or give them away

01:00:44.380 --> 01:00:48.260

because there are three
black cards there
01:00:48.260 --> 01:00:51.860
but so far it's a beautiful trick.

01:00:51.860 --> 01:00:56.920

I've studied it through Ascanio's
oil and water routine

01:00:56.920 --> 01:01:03.040

because this trick was awful, at some
point the transferred a card here

01:01:03.040 --> 01:01:09.280

in the middle of the trick to make
the cards fit the sleight

01:01:09.280 --> 01:01:13.760

but it turns out that it's way
simpler than what I thought

01:01:13.760 --> 01:01:19.240

and after going through Ascanio's
routine it's very clean now

01:01:19.240 --> 01:01:24.100

and I used to do it all the time

01:01:24.100 --> 01:01:27.520

I didn't have the patter about
the illusion within the illusion

01:01:27.520 --> 01:01:31.380

I think that belongs to a more
private or intimate audience

01:01:31.380 --> 01:01:32.520

who can appreciate and understand it

01:01:33.920 --> 01:01:38.520

but it's still a difficult exercise

01:01:38.520 --> 01:01:44.420

to make it clean, because you have
two things battling for attention

01:01:44.420 --> 01:01:49.020

"understanding what's happening"
and "understanding the theme"

01:01:49.780 --> 01:01:53.180

and when you have that
battle they both lose.
01:01:53.180 --> 01:01:58.260
I remember "the dreamed dreamer"
with "el incauto bribon"

01:01:58.260 --> 01:01:59.460

who dream's who?

01:01:59.460 --> 01:02:02.100

is the joker dreaming of the cards

01:02:02.100 --> 01:02:03.900

or the cards are dreaming of the joker

01:02:03.900 --> 01:02:06.280

it's too confusing

01:02:06.280 --> 01:02:09.540

but if both dimensions
of the trick demand

01:02:09.540 --> 01:02:15.680

the same intensity something
will go wrong

01:02:15.680 --> 01:02:18.420

it's like reading and
listening to the radio

01:02:18.420 --> 01:02:21.340

something will go wrong if not both

01:02:21.980 --> 01:02:24.500

that's the balance you have
to achieve, and this has it.

01:02:24.500 --> 01:02:27.920

well, as an improvised construction
I find this very interesting

01:02:27.920 --> 01:02:32.680

little details. one is that I'll take out
3 black cards ad 6 red cards

01:02:32.680 --> 01:02:40.160

I want an 8 a 9 and a 10 of any black
suit, that way I don't have to count

01:02:40.160 --> 01:02:44.900

just by seeing a black 8, 9 and 10 I know I'm good

01:02:44.960 --> 01:02:48.540

now I'll remove all red 8 through 10

01:02:49.620 --> 01:02:52.700

so I say I'm taking out
some colorful cards

01:02:52.700 --> 01:02:57.060

so there's contrast.
I take out the first 10

01:02:57.060 --> 01:03:05.060

there's an 8 here but it doesn't
matter, the suits don't matter

01:03:05.060 --> 01:03:07.300

this one I don't need

01:03:07.300 --> 01:03:12.340

I take this 8 and now for talking
too much I screwed up

01:03:12.340 --> 01:03:17.920

when you shut up it works, the moment
you start talking you're screwed

01:03:17.920 --> 01:03:21.380

so there are 6 red cards
and 3 black cards

01:03:21.380 --> 01:03:24.540

but the way you think about it's
very important, like those

01:03:24.540 --> 01:03:33.340

3, 2, 2, 3 count where you can just talk and
talk an there are 20 cards

01:03:33.340 --> 01:03:38.340

because they work
differently, this is visual

01:03:38.340 --> 01:03:43.340

and you know if you go 3, 2,
2, 3 you know there are 10

01:03:43.340 --> 01:03:49.700

if you go 3, 2, 3, 2 then you lose
yourself, it's a brilliant concept

01:03:49.700 --> 01:03:54.220

that's how the brain works so this is a
very physiological technique
01:03:54.220 --> 01:03:57.980
because it defines how our brain works

01:03:57.980 --> 01:04:04.920

different ways of accessing information
or to store it or whatever

01:04:04.920 --> 01:04:09.320

so we have to work two
different ways so that

01:04:09.320 --> 01:04:11.100

they don't battle each other

01:04:11.100 --> 01:04:13.900

why can't you read and listen
to the radio at the same time?

01:04:13.900 --> 01:04:20.280

because they're using the same road so
they interfere with each other

01:04:20.280 --> 01:04:25.660

here's the same, so as long as
it's visual it doesn't matter

01:04:25.660 --> 01:04:27.460

you can say anything

01:04:27.460 --> 01:04:34.460

you don't have to have a rhythmic
patter which is also used

01:04:34.460 --> 01:04:38.220

so when you deal cards you
know when you're done

01:04:38.220 --> 01:04:40.540

"I'll deal cards and you tell me stop"

01:04:40.540 --> 01:04:47.000

I know I have 6 because that's the
time it takes to deal 6 cards

01:04:47.000 --> 01:04:50.740

"so what's you're name?
oh, beautiful name"

01:04:50.740 --> 01:04:54.940

"can you help me?" and now
I have 17 cards here
01:04:54.940 --> 01:05:02.980
I'm not going to count them
but you get the point

01:05:02.980 --> 01:05:05.540

so all of this technique is
very interesting

01:05:05.540 --> 01:05:11.220

because you have to take some
cards out and not others

01:05:11.360 --> 01:05:18.020

remember the trick with the gaff card
that's 3, 3, 3 and a different card

01:05:18.020 --> 01:05:21.660

if you have to take out three sets
of three, how do you do it?

01:05:21.660 --> 01:05:26.360

how do you know you only took out 3
Q's or 3 J's or 3 9's and not 4

01:05:26.360 --> 01:05:30.260

it's impossible because they
come out in random order

01:05:30.260 --> 01:05:33.040

so don't take out spades and that's it

01:05:33.640 --> 01:05:38.700

so forget the spades, I'll
take out Q's J's and K's

01:05:38.700 --> 01:05:44.380

I can't make a mistake because
I see spades I just ignore it

01:05:44.380 --> 01:05:49.380

and that's it, and I know
exactly what I have

01:05:51.420 --> 01:05:53.020

just by forgetting about the spades

01:05:53.020 --> 01:05:54.360

the brain doesn't have to
deal with anything else

01:05:54.360 --> 01:05:57.780

so you don't have to count

01:05:57.780 --> 01:06:04.420

because otherwise you can tell
the thinking, it takes longer

01:06:05.240 --> 01:06:10.660

so play around with that,
so this is shuffled

01:06:10.660 --> 01:06:14.660

now you have to find a 4, 2, 2, 1
sequence which is very easy

01:06:14.660 --> 01:06:19.660

so by almost showing the cards

01:06:19.660 --> 01:06:26.080

you can say "well I think these
are good" and there it is

01:06:26.140 --> 01:06:36.000

just by looking if you have the right cards
you already have the setup

01:06:36.000 --> 01:06:43.260

and from now on it's all done,
there's not much more to explain

01:06:43.260 --> 01:06:51.660

but the formal unit it's very interesting
and I think i very relevant

01:06:51.660 --> 01:06:55.940

this trick has serve me to apply
some of Ascanio's concepts

01:06:55.940 --> 01:07:06.300

and not all magic concepts
have that practical approach

01:07:06.300 --> 01:07:08.340

in Nelm's book there are two quotes

01:07:08.340 --> 01:07:11.820

that are very relevant in that matter

01:07:11.820 --> 01:07:13.880

in the intro the first chapter it says

01:07:13.880 --> 01:07:19.580

"drama and conjuring are
both arts of illusion"

01:07:19.580 --> 01:07:23.400

and the second in the first chapter says

01:07:23.400 --> 01:07:27.640

"the art of illusion is at least 95%
applied psychology"

01:07:27.640 --> 01:07:30.740

let's not concern ourselves
with stuff we can't prove

01:07:30.740 --> 01:07:36.000

if I can't prove it I don't care

01:07:36.100 --> 01:07:37.820

I'm interested in practicality

01:07:37.820 --> 01:07:43.280

and Ascanio y very practical and
can be applied directly

01:07:43.280 --> 01:07:51.140

always, if not then is just
philosophy, which is also fine

01:07:51.140 --> 01:07:55.940

in some cases like Luis Garcia

01:07:55.940 --> 01:07:58.320

he writes magic philosophy
which is also convenient

01:07:58.320 --> 01:08:03.760

when he says that any trick that
can be explained it's not magic

01:08:03.760 --> 01:08:07.220

that's hes argument against mentalism

01:08:07.220 --> 01:08:11.660

the more credible is mind reading
the less magical it becomes

01:08:11.660 --> 01:08:12.440

because it has an explanation

01:08:12.440 --> 01:08:16.340

it's an interesting theory and it's
good to discuss these things
01:08:16.340 --> 01:08:19.140
but you must differentiate between
philosophy and practical theory

01:08:19.140 --> 01:08:22.860

and Ascanio was an advocate
of a science of magic

01:08:22.860 --> 01:08:27.380

where we could base ourselves

01:08:27.380 --> 01:08:29.940

why? because when we stop being laymen

01:08:29.940 --> 01:08:35.900

we lose our sight and then transfer
our own conception of magic

01:08:35.900 --> 01:08:39.860

to the spectator who's watching
for the first time

01:08:39.920 --> 01:08:41.980

something you've seen for years

01:08:42.200 --> 01:08:47.180

you're deforming it and then
giving it to the spectator

01:08:47.180 --> 01:08:52.460

assuming things that the spectator
it's not even thinking

01:08:52.460 --> 01:08:57.460

so we have to go to the laymen point of
view but we can't do it honestly

01:08:57.460 --> 01:09:02.460

we have to do it based in
knowledge we can trust

01:09:02.460 --> 01:09:06.260

that's the key an Ascanio
is great for that

01:09:06.260 --> 01:09:09.780

so the susceptibility game
plays out here too

01:09:09.780 --> 01:09:12.940

so you can do it slowly,
clearly an cleanly
01:09:12.940 --> 01:09:16.700
a dream within a dream
as a possible patter

01:09:16.700 --> 01:09:22.680

so when we find this position and then
we can go for the formal unit

01:09:22.680 --> 01:09:28.180

which is a concept I use since some time
ago and I find it fascinating

01:09:28.180 --> 01:09:36.220

because it respects the view of
the spectator in a great way

01:09:36.220 --> 01:09:40.560

so the first time the
spectator sees the trick

01:09:40.560 --> 01:09:46.360

he sees the card come
to the top, second time

01:09:46.360 --> 01:09:49.820

it's identical, in some
ambitious card routines

01:09:49.820 --> 01:09:55.860

the card comes out of here, there,
my forehead, it changes, it flies

01:09:55.860 --> 01:09:58.300

so the spectator get stressed out

01:09:58.300 --> 01:09:59.500

because every time he
has to start all over

01:09:59.500 --> 01:10:00.860

and can't hold on to the previous one

01:10:00.860 --> 01:10:05.760

that's not enriching, did you fool them?
yes, is it artistic? no

01:10:05.760 --> 01:10:08.100

that's on the level of fooling

01:10:08.100 --> 01:10:14.520

and it's difficult because
the magician always wins

01:10:15.080 --> 01:10:20.680

the magician is cheating

01:10:20.900 --> 01:10:23.900

so don't pat yourself on the back
because fooling is very easy

01:10:23.900 --> 01:10:26.900

and it's easier than what
we're trying to do here

01:10:26.900 --> 01:10:29.220

so it's like "hello good
night, I'm the magician

01:10:29.220 --> 01:10:32.880

and I'm here to fool you all night long"

01:10:32.880 --> 01:10:41.420

ready? let's go....

01:10:41.420 --> 01:10:45.180

good by, you get your money and you're
done and you forget of Ascanio

01:10:45.180 --> 01:10:46.420

and concepts and everything

01:10:46.420 --> 01:10:54.700

do it like that and make some money and
don't care about these things

01:10:54.700 --> 01:10:58.140

but if you want or need something else

01:10:58.140 --> 01:11:01.320

then you need to get
past the level of fooling

01:11:01.320 --> 01:11:07.580

and it has to be done with
that concept from Ascanio

01:11:07.580 --> 01:11:12.000

which I believe it's the most solid

01:11:12.000 --> 01:11:15.420

you can trust it and tested too

01:11:15.420 --> 01:11:19.900

because he did what he wrote
and wrote what he did

01:11:19.900 --> 01:11:22.980

and the great thinkers where like that

01:11:22.980 --> 01:11:26.640

their lives framed their
thinking and vice versa

01:11:26.640 --> 01:11:31.640

it's not like "do as I
say but not as I do"

01:11:31.640 --> 01:11:35.580

the ethical basis one self is saying

01:11:35.580 --> 01:11:45.100

"my life and my actions
part from my ideas"

01:11:45.100 --> 01:11:49.620

and I don't know any other thinker
of the same category

01:11:49.620 --> 01:11:51.400

who does that with such honesty

01:11:51.400 --> 01:11:59.060

so it's a good guarantee if we want this
to be art once and for all

01:11:59.420 --> 01:12:03.500

so at this point comes the formal unit

01:12:03.500 --> 01:12:05.420

first they see. then they
know they are seeing

01:12:05.420 --> 01:12:07.400

because they pull from the
previous experience

01:12:07.580 --> 01:12:14.000

now they see the process, they
recognize it, they see it coming

01:12:14.000 --> 01:12:16.180

here it comes here it comes, and there it is

01:12:16.180 --> 01:12:23.500

so they see it coming
and that's very strong

01:12:23.500 --> 01:12:29.780

and the third is to vary the unit which
is the perfect balance when

01:12:29.780 --> 01:12:36.040

the third time is another chance, can't
you see them separating?

01:12:36.040 --> 01:12:38.420

you haven't even seen how
the blacks disappeared

01:12:41.040 --> 01:12:46.040

so the third time it's like Hitchcock
Aces from Darwin Ortiz

01:12:46.040 --> 01:12:52.340

you know the last Ace is going
to travel, the third Ace

01:12:52.340 --> 01:12:56.520

so everybody's looking at the ace

01:12:56.520 --> 01:12:59.700

and not only you don't
this ace traveling here

01:12:59.700 --> 01:13:01.520

but you don't see the
three aces going there

01:13:01.520 --> 01:13:06.520

you miss one and then
you miss three at once

01:13:06.520 --> 01:13:13.520

it's great. something
similar happens here

01:13:13.520 --> 01:13:19.640

"they separate again but the funny thing
is that there are no black cards"

01:13:19.640 --> 01:13:21.580

now I don't understand anything

01:13:21.580 --> 01:13:25.860

it's fascinating because it exceeds
the expected ending
01:13:25.860 --> 01:13:30.260
we have to try not to disappoint

01:13:30.260 --> 01:13:33.600

between your expectations
and what really happens

01:13:33.600 --> 01:13:38.600

the basic sequence when you're
separating the cards

01:13:38.600 --> 01:13:44.820

thanks to this sequence you can
deal 4 red cards and here we do

01:13:44.820 --> 01:13:53.260

a double push off of the third
card and now we have to

01:13:53.260 --> 01:13:59.220

play with the balance
to cover the handling

01:13:59.220 --> 01:14:03.100

where this cards move in this direction
and these move in this direction

01:14:03.100 --> 01:14:08.100

reds here with an unsquared elmsley

01:14:08.100 --> 01:14:13.100

and these go that way

01:14:14.600 --> 01:14:18.340

so a group in this direction
and the other group

01:14:18.340 --> 01:14:21.480

in the opposite direction
and that helps to cover

01:14:21.480 --> 01:14:27.900

so it's not that bold, then you talk a bit
and take the heat of the cards

01:14:27.900 --> 01:14:31.340

so when the go back to them they
know what they're seeing

01:14:31.340 --> 01:14:35.960

some reds and some blacks
01:14:36.580 --> 01:14:39.100
by the way has someone
dreamed about dreaming?

01:14:39.100 --> 01:14:43.820

so then you move the focus off the table

01:14:43.820 --> 01:14:54.340

so then you explain the illusion
within the illusion

01:14:54.340 --> 01:14:59.120

when you come back down this is black

01:14:59.960 --> 01:15:06.080

there's no question about it, no doubt, it
doesn't require confirmation

01:15:06.080 --> 01:15:11.300

the packets are cold, so now you can work

01:15:11.300 --> 01:15:15.380

and now you use a kind of misdirection

01:15:15.380 --> 01:15:18.200

where you talk about what you do
and not about what happens

01:15:18.200 --> 01:15:23.540

so, always alternating,
here I do a pinky count

01:15:23.540 --> 01:15:29.660

infinitely better than the buckle
which is horrendous

01:15:29.660 --> 01:15:35.280

I thank mister Buckley for all he
did but he can rest in peace

01:15:35.280 --> 01:15:42.740

there's better things to do than bending
cards and create tension

01:15:42.740 --> 01:15:46.340

so I think the pinky count is far
superior than the buckle

01:15:47.520 --> 01:15:53.520

for the pull down to work you need to
bevel the cards towards the thumb
01:15:53.520 --> 01:15:57.500
hold it with these fingers
and then pull down

01:15:57.500 --> 01:16:00.320

the bevel makes each card longer
than the previous one

01:16:00.320 --> 01:16:02.500

so inevitably you'll pull the bottom card

01:16:02.500 --> 01:16:05.980

you don't have to look
for it, just pull it

01:16:05.980 --> 01:16:12.220

so it can't fail, if you can't see it grab
more cards and try again

01:16:12.220 --> 01:16:18.560

hold the deck in dealing
grip, bevel the cards

01:16:18.560 --> 01:16:25.880

now you can see how all the cards are
beveled towards the thumb

01:16:25.880 --> 01:16:30.880

index an thumb hold the deck, a
classic grip in card magic

01:16:30.880 --> 01:16:35.480

so when you pull down with your
pinky you'll get the card

01:16:40.320 --> 01:16:45.380

so when you practice with the deck
your conscious of the bevel

01:16:45.380 --> 01:16:52.380

if you pull and don't get a card then
your not beveling the cards right

01:16:52.380 --> 01:16:55.540

there's no margin for error

01:16:55.540 --> 01:16:58.880

if you don't get the card
you're not doing it right

01:16:58.880 --> 01:17:03.260

so with less cards the bevel
is more difficult to see

01:17:03.340 --> 01:17:05.020

but it doesn't matter, if I do this

01:17:05.160 --> 01:17:07.540

they're beveled no matter
if I see it or not

01:17:07.580 --> 01:17:09.620

if I don't see it it doesn't
mean is not there

01:17:09.620 --> 01:17:15.060

so I can do it in real time

01:17:16.000 --> 01:17:22.040

I spread the cards, I fan the cards
and hold it with three fingers

01:17:22.040 --> 01:17:26.700

the third one is a double, and now I push
the cards in from below

01:17:26.700 --> 01:17:30.340

and make sure you can see this step
because the spectator needs it

01:17:30.340 --> 01:17:36.500

they have to see the step

01:17:36.500 --> 01:17:39.820

push them in from below not from the top

01:17:39.820 --> 01:17:41.500

because then you are covering the cards

01:17:41.500 --> 01:17:47.600

a detail from Ascanio, square at the
fingertips and riffle the sides

01:17:47.600 --> 01:17:52.980

like you were saying red black red black

01:17:52.980 --> 01:17:58.920

now you deal 4 and here the
last one is the double

01:17:58.920 --> 01:18:04.820

there's something that you'll see when
you study this trick which is
01:18:04.820 --> 01:18:09.820
at the beginning during the exposition

01:18:09.820 --> 01:18:17.120

there's a double deal, then
in the first two phases

01:18:17.120 --> 01:18:25.380

there's a double push off
and double at the bottom

01:18:26.320 --> 01:18:33.120

I'm wrong, the thing is that the
techniques change sides

01:18:33.120 --> 01:18:40.460

so now they're separated
we do the magic move

01:18:40.460 --> 01:18:43.660

help the spectator,

01:18:43.660 --> 01:18:45.260

if you do the gesture don't mention it

01:18:45.260 --> 01:18:46.720

and if you say it don't do it

01:18:46.720 --> 01:18:49.260

what is seen is not said, what is said is not seen if not

01:18:49.260 --> 01:18:51.720

we have to say it over and over

01:18:51.720 --> 01:18:55.780

so if we wait a little, even
if you don't believe it

01:18:55.780 --> 01:19:04.440

unquared elsmley but we want it
to look similar, and here

01:19:05.720 --> 01:19:11.520

and then you can do this
from Joaquin Mata

01:19:11.520 --> 01:19:16.740

and I loved it because it's brilliant

01:19:16.740 --> 01:19:25.940

it's beautiful. pause, they don't
know what's coming
01:19:26.080 --> 01:19:31.040
don't act like it's a fact,
this must be a climax

01:19:31.040 --> 01:19:35.740

it should, I don't want to sound grumpy

01:19:35.740 --> 01:19:39.740

but if I do this and these are
supposed to be black

01:19:39.740 --> 01:19:44.480

and it's clear that these are
red take a look at this

01:19:45.980 --> 01:19:49.860

these red cards are alternating
for sure, with what?

01:19:49.860 --> 01:19:55.500

the spectator might not be sure
but these are alternating

01:19:55.500 --> 01:20:02.760

so they should be alternating,
so explain this.

01:20:03.820 --> 01:20:09.100

it has to be a climax, so
you have to let it be

01:20:09.100 --> 01:20:13.660

you are thinking about
the killer ending so

01:20:13.660 --> 01:20:17.060

so you miss selling this part, so
focus on what you're doing

01:20:17.060 --> 01:20:22.720

magic is an art of the present, of now,
you have to seize the moment

01:20:22.720 --> 01:20:28.300

let them flip out and now look
at the joy when you say

01:20:29.380 --> 01:20:31.940

-you want to see it again?
-of course!
01:20:31.940 --> 01:20:38.100
so pause, mark it and sell the climax

01:20:38.100 --> 01:20:41.860

and the best hing of all is
that it can be repeated

01:20:41.860 --> 01:20:44.480

and now they have to get into it

01:20:44.480 --> 01:20:52.560

if they relax and applaud they
get away from the trick

01:20:52.560 --> 01:20:57.880

they have to pull from the
recent experience

01:20:57.880 --> 01:21:05.480

that's why it's important the
everything looks familiar

01:21:05.480 --> 01:21:12.980

and they can see the ending coming

01:21:12.980 --> 01:21:19.600

it's amazing so in what moment are
going from ordinary to magic?

01:21:19.600 --> 01:21:25.080

from a normal experience to magic,
once again. always the same

01:21:25.080 --> 01:21:30.740

everything repeats, the steps

01:21:30.740 --> 01:21:38.200

the stops, the looks, if in the previous
phase you marked this position

01:21:38.200 --> 01:21:45.540

do it now again, whatever it is you do

01:21:45.540 --> 01:21:50.540

mark it and do it with the same intensity

01:21:50.540 --> 01:21:56.840

keep asking, does it look familiar?

01:21:56.840 --> 01:22:05.860

so when you arrive at the end
and they are expecting it
01:22:06.540 --> 01:22:15.260
some thing have that dramatic edge
like when you flip this over

01:22:16.720 --> 01:22:20.260

and you say "yes, they're all red"

01:22:20.260 --> 01:22:22.900

but were does it come that pause from?
it doesn't come from the trick

01:22:22.900 --> 01:22:29.460

only because you know what
the spectator is thinking

01:22:29.460 --> 01:22:31.560

if you don't know that
then you can't do this

01:22:31.560 --> 01:22:36.560

but if you know then this things happen

01:22:36.560 --> 01:22:42.020

those little moments when you're
milking the dramatic moment

01:22:42.020 --> 01:22:47.620

so instead of 1, 2, 3 I go 1, 2, 3...
and 4, just to play around

01:22:51.720 --> 01:22:57.600

so yes, all of the cards are red

01:22:57.600 --> 01:23:01.540

this is the strong part and then

01:23:01.540 --> 01:23:03.140

you're done but that's not so
important, this is what matter

01:23:03.780 --> 01:23:09.480

now all of that goes into the illusion

01:23:09.480 --> 01:23:16.480

and we go to the last
phase, with the Elmsley

01:23:16.480 --> 01:23:22.760

in dealing grip just put the
last one on the bottom
01:23:22.760 --> 01:23:30.020
nobody will see it because the formal
unit is strong enough to absorb it

01:23:30.020 --> 01:23:35.020

so with that we break the loop
and we go into another

01:23:35.020 --> 01:23:42.480

so in this new loop the
double is the last card

01:23:43.160 --> 01:23:50.720

the reds are still red, place them from
the bottom up, show the step

01:23:51.340 --> 01:23:55.180

so here we have an Elmsley
for one of the blacks

01:23:55.180 --> 01:23:56.940

and here for the other to cards

01:23:56.940 --> 01:24:03.340

I find it remarkable, and the same

01:24:03.340 --> 01:24:06.500

now everything looks the same

01:24:06.500 --> 01:24:09.780

but this time we do the same
push off as the first time

01:24:09.780 --> 01:24:14.060

so both techniques change places

01:24:14.060 --> 01:24:18.000

the first and the last stay
the same and then

01:24:18.000 --> 01:24:26.480

pause, and now you do this

01:24:27.520 --> 01:24:29.100

these are already red to them

01:24:29.100 --> 01:24:34.020

if you move a card before
the effect is very bad

01:24:34.020 --> 01:24:37.280

that's the worst conception of all
01:24:37.280 --> 01:24:39.780
show them first and then
do whatever you want

01:24:39.780 --> 01:24:41.980

but to move them first it's bad

01:24:41.980 --> 01:24:47.180

here we can do it because they've seen
it twice so it's enough to do this

01:24:47.180 --> 01:24:50.580

now you can do anything
because they won't see

01:24:50.580 --> 01:24:56.960

so now here are all the red cards

01:24:56.960 --> 01:25:07.500

you can show them like this,
more elegant like Ascanio did

01:25:07.500 --> 01:25:12.880

all red cards, pause and here
are all of the blacks

01:25:12.920 --> 01:25:15.040

the illusion within the illusion

01:25:15.120 --> 01:25:18.520

is that really there were
never any black cards

01:25:18.860 --> 01:25:23.980

now you come here and while
they applause is still going

01:25:23.980 --> 01:25:26.940

you go to this position to do
an extended Elmsley count

01:25:26.940 --> 01:25:30.040

so I'm going to peel 4 and then 2
to get all the blacks together

01:25:30.040 --> 01:25:37.280

watch, I peel 4, then they go back
on top, and now I peel 2 more

01:25:37.280 --> 01:25:39.900

and now I do an extended Elmsley count
01:25:39.900 --> 01:25:42.540
because I can't do the Hamman count

01:25:42.540 --> 01:25:45.540

it's very good but I can't do it

01:25:45.540 --> 01:25:53.140

there's people who do miracles with it but I can't do it

01:25:53.140 --> 01:26:00.380

so I do this Elmsley count but with
more cards so I peel 1, 2, 3

01:26:00.380 --> 01:26:04.820

and I like it because you
can see everything

01:26:04.820 --> 01:26:11.420

let''s do it right, the
switch is very soft

01:26:11.420 --> 01:26:17.480

it can be done slowly, it's very
clear, there are no jumps or

01:26:17.480 --> 01:26:21.860

quick movements or
anything, and from here

01:26:21.860 --> 01:26:24.420

these cards need to go somewhere

01:26:24.420 --> 01:26:29.000

you can't do this, you, throw them
nonchalantly in the table

01:26:29.000 --> 01:26:32.780

shuffle while they applaud, you work after
you're done and then you say

01:26:32.780 --> 01:26:34.900

"that's the good thing
about the red cards

01:26:34.900 --> 01:26:37.420

you can get an illusion
within another illusion"

01:26:37.580 --> 01:26:41.500

and that's it
01:26:45.740 --> 01:26:54.200
well, here you can see all of my notes

01:26:55.180 --> 01:27:01.580

I would like to finish with a
trick that I love very much

01:27:01.580 --> 01:27:07.840

I used to do this

01:27:11.580 --> 01:27:17.940

wait this is the wrong deck

01:27:17.940 --> 01:27:23.380

not this one either,
we'll find it don't worry

01:27:25.140 --> 01:27:29.360

not this one, well it doesn't matter

01:27:29.360 --> 01:27:34.980

I don't know what I did

01:27:35.960 --> 01:27:43.920

this goes here, and this here, this trick
I used to use as an opener

01:27:43.920 --> 01:27:49.180

it has some contradictions because

01:27:49.180 --> 01:27:52.020

I think is good to start a magic session

01:27:52.020 --> 01:27:59.840

it's surprising, it leaves a good
impression of the magician

01:27:59.840 --> 01:28:02.660

it fails apparently, the thing with
apparent mistakes is that

01:28:02.660 --> 01:28:05.900

you should not fail for real
during your session

01:28:05.900 --> 01:28:11.940

because then you've made many mistakes

01:28:11.940 --> 01:28:14.620

tow for real, three were false
but the conclusion is
01:28:14.620 --> 01:28:17.920
that you need to practice more

01:28:17.920 --> 01:28:23.320

so be careful with apparent
mistakes, they're ok

01:28:23.320 --> 01:28:26.060

except you can make a real mistake
look like an apparent one

01:28:26.060 --> 01:28:27.980

if you can sell it

01:28:27.980 --> 01:28:33.820

it depends on how you play it, you have
to be careful with those things

01:28:33.820 --> 01:28:38.820

but it's aver interesting opener

01:28:38.820 --> 01:28:44.980

so, can you take any card?
it doesn't matter what it is

01:28:44.980 --> 01:28:49.220

you can look at it and remember it

01:28:49.220 --> 01:28:52.500

because it won't be me
who will find the card

01:28:52.500 --> 01:28:56.180

it won't be me, actually.

01:28:56.180 --> 01:29:02.280

I'm going to throw myself into the
most absolute randomness

01:29:02.280 --> 01:29:07.180

so the deck will dictate whatever
happens from now on

01:29:07.180 --> 01:29:10.760

but I trust it. for example

01:29:13.800 --> 01:29:19.560

the first card from I turn over will tell
me the color of your card

01:29:19.560 --> 01:29:24.220

so keep your poker face,
don't help me at all

01:29:24.220 --> 01:29:30.080

because I want the deck to
take me to good fortune

01:29:30.080 --> 01:29:32.780

so the first card will tell
me the color of yours

01:29:34.560 --> 01:29:39.060

black! so we know your card is black

01:29:41.700 --> 01:29:46.980

I know I'm doing it right, so if it's black
it must be spades or clubs

01:29:46.980 --> 01:29:51.780

the next card will tell me
the suit of your card

01:29:51.780 --> 01:29:56.900

I know it's black so it must
be spades or clubs

01:29:56.900 --> 01:29:58.800

spades

01:30:04.640 --> 01:30:15.180

spades, maybe the most important
is the position of the card

01:30:17.840 --> 01:30:23.120

the fourth position, this means that
no matter if I cut or shuffle

01:30:23.120 --> 01:30:27.020

when I count 4 cards the
fourth will be yours

01:30:27.020 --> 01:30:29.120

just because, it never fails

01:30:29.120 --> 01:30:35.500

ready? 1, 2, 3, 4

01:30:36.960 --> 01:30:39.620

be honest, between you and me

01:30:39.620 --> 01:30:43.440

do you it's possible that this
is your card? yes or no?
01:30:43.440 --> 01:30:45.100
- yes
-yes?

01:30:45.100 --> 01:30:48.820

really you trust me that much?

01:30:48.820 --> 01:30:53.060

because some people don't trust me but

01:30:53.060 --> 01:30:56.340

but it doesn't matter because if magic
is the art of the impossible

01:30:56.460 --> 01:31:00.180

and it's impossible for some people
that this is the selected card

01:31:00.180 --> 01:31:02.480

then just because of that this
is the 4 of clubs your card

01:31:02.480 --> 01:31:07.660

thanks you for trusting me

01:31:07.660 --> 01:31:13.980

but usually they don't trust me,
you thought it was possible

01:31:14.600 --> 01:31:19.220

did you all thought it was possible?

01:31:19.220 --> 01:31:23.480

-you didn't? why?
-because it appeared earlier

01:31:24.480 --> 01:31:28.480

here? did you see it here?

01:31:30.640 --> 01:31:36.660

well, you know. I always put one ace here

01:31:36.660 --> 01:31:41.500

but so it's not alone I always leave
a second and a third ace too

01:31:41.500 --> 01:31:44.140

in fact, if you blow on top of you card
because that never happens

01:31:44.140 --> 01:31:46.500

now we have the fourth

01:31:46.500 --> 01:31:55.140

and that's it, very good, very good

01:31:55.140 --> 01:32:00.140

is a contradictory trick because when you
say "do you think is possible?"

01:32:00.140 --> 01:32:09.040

but every time I do it and I would
have to tattoo this on my skin

01:32:09.040 --> 01:32:13.160

every time a woman takes the
card, and this is a fact

01:32:13.160 --> 01:32:14.660

and you ask them if it is possible

01:32:14.660 --> 01:32:18.160

they are so positive and optimistic
that they ruin the ending

01:32:18.160 --> 01:32:24.900

because all of them say yes, truly is
rare when a woman says no to me

01:32:24.900 --> 01:32:35.020

did you see what I did there?
well, let's leave it at that

01:32:35.160 --> 01:32:39.880

so it's very interesting because
women tend to say yes

01:32:39.880 --> 01:32:43.180

I don't know what psychological
mechanism is working there

01:32:43.180 --> 01:32:45.640

but they tend to say yes

01:32:45.640 --> 01:32:51.060

instead the guys usually say no

01:32:51.060 --> 01:32:53.980

so if you think it's impossible
that this is the selected card

01:32:54.060 --> 01:32:56.060

then just of that here it is
01:32:56.060 --> 01:33:00.440
and it frames the reason for the
card to change very well

01:33:00.440 --> 01:33:05.780

I like it a lot because swithching
the cards for the aces

01:33:05.780 --> 01:33:09.080

I thought about it when
I learned this switch

01:33:09.180 --> 01:33:11.940

I don't know who originated
it, do you all know it?

01:33:11.940 --> 01:33:21.060

there are also techniques that are very
popular and then they disappear

01:33:21.160 --> 01:33:26.420

for lack of use or whatever,
so you hold a break

01:33:26.420 --> 01:33:32.460

and then just drop it, everybody
knows it? do you use it?

01:33:33.560 --> 01:33:39.440

there are great things you can do
with this, like an ambitious card

01:33:39.440 --> 01:33:44.440

and placing the card on top

01:33:44.440 --> 01:33:50.940

don't let it drop, just place the packet on top and that's it

01:33:50.940 --> 01:33:55.820

put it on top of the other packet
and that it looks great

01:33:55.820 --> 01:33:59.520

even as control, take a card

01:34:00.140 --> 01:34:06.240

and without even thinking about
it, put it back and that's it

01:34:07.420 --> 01:34:13.420

it's perfect, without any dressing
because in the end

01:34:13.420 --> 01:34:17.900

the only point of this is to cover the
switch, but it's not necessary

01:34:20.180 --> 01:34:25.300

no extras, and it looks great

01:34:25.300 --> 01:34:27.900

so what I do is a leave the
ace of spades on top

01:34:27.900 --> 01:34:32.640

it doesn't really matter which
ace it is, what matters is that

01:34:32.640 --> 01:34:37.600

over the second ace there's a four,
which will set up the ending

01:34:37.600 --> 01:34:43.140

this card here will never be seen

01:34:43.140 --> 01:34:51.120

and this one will be seen so it's x card,
ace, 4, ace, x card and ace

01:34:51.120 --> 01:34:56.120

these two will be seen, now if
you want to make sure

01:34:57.340 --> 01:34:59.820

I was about to say some nonsense

01:34:59.820 --> 01:35:08.160

because this trick has two ways of
unfolding that can't be controlled

01:35:08.160 --> 01:35:13.260

you can if you force a card that
doesn't match the information

01:35:13.260 --> 01:35:17.680

but if you don't want to do that

01:35:17.680 --> 01:35:24.080

you can play it towards an absolute no

01:35:24.080 --> 01:35:33.220

well, the color will always match but
everything else doesn't make sense
01:35:33.320 --> 01:35:39.640
however when they see
the card is the same

01:35:41.740 --> 01:35:44.640

because they are not expecting it

01:35:45.820 --> 01:35:49.700

it's great the absolute bewilderment

01:35:49.700 --> 01:35:52.300

because they don't know it's there

01:35:52.300 --> 01:35:56.520

this explains that Vernon quote
that's usually not well explained

01:35:56.520 --> 01:36:00.100

where he says "confusion is
not magic" that's gold

01:36:00.100 --> 01:36:07.360

the only thing that's missing is that it
only applies to the effect

01:36:07.880 --> 01:36:10.340

confusion is not magic in the effect

01:36:10.340 --> 01:36:13.540

however confusion related to the drama

01:36:13.540 --> 01:36:19.000

it's a dramatic resource of first order,
and that's what's happening here

01:36:19.000 --> 01:36:25.720

the spectator is confused
about the circumstances

01:36:25.720 --> 01:36:27.860

but the effect is clear, the card is here

01:36:27.920 --> 01:36:29.700

and that doesn't happen very often

01:36:29.700 --> 01:36:35.240

the identity of a face down card that
remains in time during the trick

01:36:35.240 --> 01:36:40.140

that very rare, because this
tends to weaken over time

01:36:40.140 --> 01:36:43.280

remember the slow motion aces

01:36:43.280 --> 01:36:48.280

every ace is weaker than the previous

01:36:48.280 --> 01:36:51.740

you can tell by looking at the spectator

01:36:51.740 --> 01:36:54.540

they take it maybe for being polite

01:36:54.540 --> 01:36:58.140

"but if you show them before you'd
be doing me a favor because"

01:36:58.140 --> 01:37:04.640

"it looks like it, it looks like it but"

01:37:04.640 --> 01:37:09.640

"I'm filled with doubt, because the card
is face down" so this is great

01:37:09.640 --> 01:37:14.640

and that means that some sensitive
elements like the identity

01:37:14.640 --> 01:37:18.100

the feeling of travel. If you
do Vernon's travelers

01:37:18.100 --> 01:37:21.580

you have the card signed so
there's absolute certainty

01:37:21.580 --> 01:37:27.680

that the signed ace that's on the deck
is the same I pull out of my pocket

01:37:27.680 --> 01:37:30.300

what does the signature say?
that it's the same ace

01:37:30.300 --> 01:37:32.300

does it say anything about the travel? no

01:37:33.040 --> 01:37:34.700

nothing about the travel

01:37:34.700 --> 01:37:37.060

I know that this ace that was in the deck

01:37:37.060 --> 01:37:39.380

is now in your pocket and it is singed

01:37:39.380 --> 01:37:42.860

or in the wallet, it's amazing but I have
no idea of how it happened

01:37:42.860 --> 01:37:45.300

so what phenomenon are we talking about? none

01:37:45.300 --> 01:37:52.200

is it traveling? does it disappear,
what are we saying here?

01:37:52.200 --> 01:37:54.780

if you take into account the feeling

01:37:54.780 --> 01:37:56.740

the signatures would not be relevant

01:37:57.180 --> 01:38:01.220

to do the Vernon travelers
without signing the aces

01:38:01.740 --> 01:38:05.800

it should work if the trick meets
all of the requirements

01:38:05.800 --> 01:38:08.700

if you don't do it without the
signatures it's because

01:38:08.700 --> 01:38:13.560

there's no ability to
conceive it properly

01:38:13.560 --> 01:38:17.140

instead here we have a perfect example

01:38:17.140 --> 01:38:20.560

where the identity of the
card remains in time

01:38:20.560 --> 01:38:23.140

the coin in the deck, it must
be the same coin

01:38:23.140 --> 01:38:25.900

but it should be the same
even of you're using two
01:38:25.900 --> 01:38:29.780
the feeling must come before
the reality, just like before

01:38:29.780 --> 01:38:31.720

"what happens" is not as important
as "what it looks like"

01:38:31.720 --> 01:38:34.860

what should it look like?
that it's the same coin

01:38:34.860 --> 01:38:36.480

even if it's not the same coin
it must look like it

01:38:36.480 --> 01:38:44.620

if not then we have to go to Juan's
version using Slydini's techniques

01:38:44.620 --> 01:38:49.220

through the table, then
Juan's signature appears

01:38:49.220 --> 01:38:51.500

and on the other side the spectator's
signature and it' very strong

01:38:51.500 --> 01:38:54.840

because they understand
that it's another coin

01:38:54.840 --> 01:38:57.820

so I don't think it's a good job

01:38:57.820 --> 01:39:01.600

I'm sorry but I don't think
it's a good formula

01:39:01.600 --> 01:39:07.840

revealing the trick by saying it's another
coin just to show it's the same

01:39:07.840 --> 01:39:12.840

the effect is very strong which is
what happens with false clues

01:39:12.840 --> 01:39:17.780

where you end up completely dumbfounded
because there are no more options
01:39:17.780 --> 01:39:26.620
that was the last resort and when
it's gone your left nowhere

01:39:26.800 --> 01:39:30.820

internally is very powerful

01:39:30.820 --> 01:39:35.820

just through the possibilities of the
trick, if you see a feather

01:39:35.820 --> 01:39:40.820

you know a dove is coming out, so when
it appears there's nothing else

01:39:40.820 --> 01:39:44.980

that's the example he
uses to explain this

01:39:44.980 --> 01:39:49.380

here however it's the context
of the trick itself

01:39:49.380 --> 01:39:50.740

what makes it hold over time

01:39:50.740 --> 01:39:57.060

so we have to look for other mechanisms
either dramatic or psychological

01:39:57.060 --> 01:40:02.060

that help to create feelings
over reality and facts

01:40:02.060 --> 01:40:04.860

and that's very difficult

01:40:04.860 --> 01:40:11.220

I'm sorry to say this but to come up with
another version of the triumph

01:40:11.220 --> 01:40:18.080

can be done with one
hand tied to the back

01:40:18.360 --> 01:40:20.660

to make this card's name remain in time

01:40:20.660 --> 01:40:24.060

requires a lot of work and
profound thinking
01:40:24.060 --> 01:40:29.700
to come up with tricks
based on techniques

01:40:29.700 --> 01:40:38.220

just creates more material
and less quality

01:40:38.320 --> 01:40:43.460

me and anybody here could
publish a book a month

01:40:43.460 --> 01:40:48.460

with worthless material that has
no sense for the future

01:40:48.460 --> 01:40:53.460

so I think it's better to focus and
solve deeper stuff like this

01:40:53.460 --> 01:40:57.660

this card remains in time,
the reasons must be analyzed

01:40:57.660 --> 01:41:00.720

and the rule must be extracted
from the trick

01:41:00.720 --> 01:41:05.720

because the rule can be used as a tool

01:41:05.720 --> 01:41:08.540

that can be applied to many things

01:41:08.540 --> 01:41:10.720

if you only stay with the trick
the you're collecting events

01:41:10.720 --> 01:41:15.720

but you're not learning so we have
to look for the hidden rules

01:41:15.720 --> 01:41:18.660

that's what Ascanio did, he
looked for the general rule

01:41:18.660 --> 01:41:22.180

and with it all the applications for it

01:41:22.180 --> 01:41:25.380

so after the first hit
01:41:25.380 --> 01:41:30.580
I'm sorry for digressing but
otherwise I don't enjoy it

01:41:30.720 --> 01:41:38.460

the card is controlled to the
top, not much to say there

01:41:38.460 --> 01:41:41.840

I like the quote about randomness a lot

01:41:41.840 --> 01:41:48.220

don't tell me anything, keep a poker face

01:41:48.220 --> 01:41:50.860

and that's it everything is the same

01:41:50.860 --> 01:41:53.740

the attitude is that this
is an experiment

01:41:53.740 --> 01:41:55.700

in the Nelms book it's
very well explained

01:41:55.700 --> 01:41:58.520

a demonstration always work,
an experiment can go wrong

01:41:58.520 --> 01:42:01.620

what are you doing? a demonstration
or an experiment?

01:42:01.680 --> 01:42:03.980

I have an experiment I'm throwing
myself into randomness

01:42:04.420 --> 01:42:06.460

and I hope lady luck is on my side

01:42:06.460 --> 01:42:13.520

an in that case we will
have a great night

01:42:13.520 --> 01:42:15.080

let's start

01:42:15.220 --> 01:42:21.020

but something can go wrong

01:42:21.020 --> 01:42:27.800

so because it is an experiment
so I apply that quality to it

01:42:27.800 --> 01:42:31.880

so let's begin

01:42:31.880 --> 01:42:33.980

I shuffle and cut and whatever
card ends up on top

01:42:33.980 --> 01:42:36.880

will tell me the color of your card

01:42:36.880 --> 01:42:45.940

everybody must see the card, pay attention
because w only have one chance

01:42:45.940 --> 01:42:51.680

and when they see the
card the party starts

01:42:51.680 --> 01:42:59.380

they start looking at
each other. "it's red"

01:42:59.820 --> 01:43:02.380

and they look at you

01:43:02.680 --> 01:43:06.020

they don't understand anything
it's like they are in limbo

01:43:06.100 --> 01:43:08.960

but it's fascinating to understand
the psychology behind it

01:43:08.960 --> 01:43:12.500

because you are building
the spectator for the trick

01:43:12.500 --> 01:43:15.440

and you can do that if you know
where and how to put it there

01:43:15.660 --> 01:43:20.980

the card right now is giant, it shines

01:43:20.980 --> 01:43:25.700

it's like the northern star

01:43:25.700 --> 01:43:34.500

it's absolutely blinding so now
they won't see the sleight
01:43:34.500 --> 01:43:39.580
they can't see, all the see
is the 3 dancing in their mind

01:43:39.580 --> 01:43:43.580

you could load an elephant here
and nobody will know

01:43:43.580 --> 01:43:46.220

but you have to understand why

01:43:46.220 --> 01:43:50.480

you could switch the deck too
so it's red so it has to be

01:43:50.480 --> 01:43:56.600

diamonds or hearts, they say yes but
they're still troubled about the 3

01:43:56.600 --> 01:44:01.600

they can barely listen now

01:44:01.600 --> 01:44:07.240

they can only think of the
3, so understand that state

01:44:07.240 --> 01:44:13.220

diamonds or hearts, now if
this comes up it's a killer

01:44:13.220 --> 01:44:15.720

because if a heart comes out now

01:44:17.900 --> 01:44:21.020

the impression is still the same

01:44:21.020 --> 01:44:26.960

because even though it is hearts
the card is right here

01:44:26.960 --> 01:44:33.060

but if clubs comes out
then it's very clear

01:44:33.060 --> 01:44:37.700

diamonds or hearts? clubs!

01:44:37.700 --> 01:44:43.860

they think I'm completely screwed

01:44:43.860 --> 01:44:51.500

and they wonder how am I going to
get out of this, before it went well

01:44:51.500 --> 01:44:59.200

it was a black card but yours was
clubs, so there's less contrast

01:44:59.200 --> 01:45:06.760

but here is great, and now you
can say with conviction

01:45:06.760 --> 01:45:11.760

the color of the selected card, red!

01:45:11.760 --> 01:45:21.020

you're feeling great, now the
next will tell me the suit

01:45:21.020 --> 01:45:26.020

the suit, I hope luck is on my side

01:45:26.020 --> 01:45:31.320

spades! well

01:45:32.100 --> 01:45:42.220

a red spade... so then you do a little
pep talk and that get some laughs

01:45:42.220 --> 01:45:49.620

because now you know you're screwed

01:45:49.620 --> 01:45:55.280

but this 3 is great

01:45:55.340 --> 01:45:57.340

you must understand
the importance of that

01:45:57.340 --> 01:46:04.080

that card can sell itself very strongly

01:46:04.080 --> 01:46:08.180

so the you say the real important thing
is the position of your card

01:46:08.180 --> 01:46:10.420

this is not so important

01:46:10.420 --> 01:46:15.460

the next card tells me where your card is

01:46:15.460 --> 01:46:18.420

and now because we've been
getting rid of the single cards

01:46:18.420 --> 01:46:23.940

but if you press a little
harder you can pull two

01:46:23.940 --> 01:46:28.580

it requires a little more practice

01:46:28.580 --> 01:46:35.600

so now your loading the ace
and the next that will be seen

01:46:35.600 --> 01:46:42.380

and that also positions the
selected card 4th from top

01:46:42.380 --> 01:46:48.420

"that means that no matter
how I shuffle or cut

01:46:48.420 --> 01:46:50.420

when I count 4 cards the
last will be yours"

01:46:50.420 --> 01:46:57.460

now you keep you composure because
everybody knows the 3 is here

01:46:57.460 --> 01:47:00.060

they all think it's going to go wrong

01:47:00.060 --> 01:47:03.000

what a beginning, everything's
going wrong

01:47:03.000 --> 01:47:07.400

they have to like you, these tricks
with apparent mistakes

01:47:07.400 --> 01:47:11.260

have a thing because they
test the audience very well

01:47:11.260 --> 01:47:14.940

they have to feel bad when you screw up

01:47:14.940 --> 01:47:23.220

if they don't is because
they don't like you
01:47:23.220 --> 01:47:27.940
but if they like you they'll
have a hard time

01:47:27.940 --> 01:47:30.920

and that helps to make
the ending stronger

01:47:30.920 --> 01:47:38.980

because everybody is happy
and everything works

01:47:38.980 --> 01:47:43.980

so I keep conviction and
count the 4 cards

01:47:43.980 --> 01:47:46.660

and now I ask do you really think this
could possibly be your card?

01:47:46.660 --> 01:47:48.780

they say no

01:47:48.780 --> 01:47:51.180

well, thank you fro trusting the artist

01:47:51.180 --> 01:47:54.180

but we're here to watch the impossible

01:47:54.180 --> 01:47:56.960

so if you think it's impossible
that this is your card then

01:47:56.960 --> 01:47:59.660

maybe just because of that
this card is no other that

01:47:59.660 --> 01:48:01.960

and everybody wants me to show the card

01:48:01.960 --> 01:48:06.960

and that's what I don't want, I want to
tease them for a long as I can

01:48:06.960 --> 01:48:12.120

there's the 3, they don't understand
anything, the top change is a joke

01:48:12.120 --> 01:48:18.860

make a comment or something
and leave it there
01:48:19.900 --> 01:48:29.660
now we have to find out why the surprise
so they say they saw it here

01:48:29.660 --> 01:48:34.660

and it goes from being here to
not being there absolutely

01:48:34.660 --> 01:48:40.120

now there's an ace here, and
it's not alone there's two more

01:48:40.260 --> 01:48:46.420

and the card you just saw
turns into that last ace

01:48:46.420 --> 01:48:53.440

great, I did another top change here,
so there's 4 and you can move on

01:48:53.440 --> 01:48:57.080

this trick is great as an opener but

01:48:57.160 --> 01:49:00.260

to use it in the middle of a set it
would be the worst version

01:49:00.260 --> 01:49:09.200

of the typical circus trick or the
Vernon's fingerprint trick

01:49:09.200 --> 01:49:17.980

or an impossible bet where the selected
card is among the eliminated ones

01:49:17.980 --> 01:49:24.460

they all belong to the same
family, the apparent mistake

01:49:24.460 --> 01:49:28.220

every time is clearer that you're screwed

01:49:28.220 --> 01:49:32.860

and at the end everybody's
happy and pleased

01:49:32.860 --> 01:49:38.100

or Vernon's 4 of a kind, a 7, a 7, a 7,
the we turn it and it's a 10

01:49:38.100 --> 01:49:40.440

so now we do some magic
and they all turn to 10's

01:49:40.440 --> 01:49:49.220

the best card trick ever, because it
shows the power of the magician

01:49:49.220 --> 01:50:00.080

in its purest form, the best card
trick in the world for sure, but

01:50:00.080 --> 01:50:03.140

out of that family of apparent
mistakes tricks

01:50:03.140 --> 01:50:05.460

this is the worst unless
you use it as an opener

01:50:05.460 --> 01:50:07.160

because the sin

01:50:08.340 --> 01:50:11.200

of producing the aces that have nothing
to do with the trick is forgiven

01:50:11.200 --> 01:50:15.500

this is what I call to wash
with dirty water

01:50:15.500 --> 01:50:19.140

if you do an ambitious card where
the card ends inside the wallet

01:50:19.140 --> 01:50:20.960

you are washing with dirty water

01:50:21.220 --> 01:50:25.220

I mean the better the
ending with the wallet

01:50:25.220 --> 01:50:27.860

the worst for rest of the routine

01:50:27.860 --> 01:50:29.880

because it's going to wipe
it out of memory

01:50:29.880 --> 01:50:36.000

so you're working for nothing, you're
washing the floor with dirty water

01:50:36.000 --> 01:50:41.580

you're putting the effort and the work
and in the end it's worthless

01:50:41.580 --> 01:50:48.220

because doing a great trick that ends
with something that doesn't fit

01:50:48.220 --> 01:50:53.460

the more elaborate the worse because

01:50:53.460 --> 01:51:05.900

the ending will wipe everything out, and
that's what the aces do here

01:51:05.900 --> 01:51:10.380

it helps psychologically to put
the spectator in a place

01:51:10.380 --> 01:51:13.100

where I can keep manipulating him
later so it works great as an opener

01:51:13.100 --> 01:51:18.080

but it would be very bad to use
it in the middle of a session

01:51:18.080 --> 01:51:23.080

and with that I say good bye

01:52:05.740 --> 01:52:09.820

We had some time to leave the room,

01:52:09.820 --> 01:52:11.960

so we can be more intimate,
how did you feel?

01:52:12.740 --> 01:52:21.340

-well, great, awesome
-they're applauding there, another round of applause

01:52:21.340 --> 01:52:26.340

thanks for sharing all that
information with us

01:52:26.340 --> 01:52:31.900

so now we'll ask you some
personal questions, let's start

01:52:31.900 --> 01:52:40.220

with what we call the
fast five at Kaps live
01:52:40.220 --> 01:52:47.860
-it rhymes very well
-as long as someone knows what it means because I don't

01:52:47.860 --> 01:52:50.980

to give you s straight answer
I can tell you that

01:52:50.980 --> 01:52:57.320

non-magic books there
are too many to mention

01:52:57.320 --> 01:53:00.740

a magic book would have to be
an undervalued book which is

01:53:00.740 --> 01:53:02.980

"magic and showmanship" by H.
Nelms is very fundamental

01:53:03.080 --> 01:53:04.120

and well read

01:53:04.300 --> 01:53:07.800

-A magician
-Tommy Wonder

01:53:07.800 --> 01:53:11.380

because he challenged himself
all his life, that's very rare

01:53:11.500 --> 01:53:17.800

-a spectator?
-a spectator? by name?

01:53:18.740 --> 01:53:23.700

a friend from my childhood who I used
as a Guinea pig all the time

01:53:23.700 --> 01:53:25.500

and he was very discreet

01:53:25.500 --> 01:53:29.380

even though he knew every secret
he never opened his mouth

01:53:29.380 --> 01:53:33.580

everybody should have a friend like that

01:53:33.940 --> 01:53:39.000

-A sleight?
-A Sleight
01:53:39.000 --> 01:53:43.260
I wouldn't know what to say, I'm
not in love with sleights

01:53:43.260 --> 01:53:50.300

I consider it like Ascanio says
in its right measure

01:53:51.160 --> 01:53:55.020

for example techniques that serve many
purposes are not attractive to me

01:53:55.020 --> 01:53:57.780

the cull is too universal,
that's bad for magic

01:53:59.540 --> 01:54:01.440

those are cages made of gold

01:54:01.560 --> 01:54:05.420

-A trick
-A trick?

01:54:05.420 --> 01:54:10.120

out of the many possibilities

01:54:10.120 --> 01:54:18.240

I would say if it's mine or
a my version of a trick

01:54:18.240 --> 01:54:23.240

very intense and feeling would
be the "flor de coleridge"

01:54:23.240 --> 01:54:27.100

and if it's about classic card magic

01:54:27.100 --> 01:54:29.260

it would have to be the
Vernon's 4 of kind

01:54:30.420 --> 01:54:36.180

-Gabi I want to know who would you
say are your biggest influences

01:54:36.180 --> 01:54:39.820

outside magic?

01:54:39.820 --> 01:54:42.860

I could say many names
01:54:42.860 --> 01:54:48.580
but knowing the names or the
books would be too much

01:54:48.580 --> 01:54:51.980

because I've always read to steal stuff

01:54:51.980 --> 01:54:57.400

for magic and not to defend
the author's opinion

01:54:57.400 --> 01:55:06.660

the tapestry is too complex to pull
back every string to where it belongs

01:55:06.740 --> 01:55:09.340

it's an infinite debt with
a lot of people

01:55:09.340 --> 01:55:13.180

magicians and laymen, for
example Luis Garcia

01:55:13.580 --> 01:55:18.780

was fundamental for the magical concepts
that I've developed over time

01:55:18.860 --> 01:55:25.040

Juan, Ascanio infinitely, Carroll also

01:55:25.040 --> 01:55:28.340

and out of magic there are many more

01:55:28.340 --> 01:55:30.800

but there's something I call
"books for sensitivity"

01:55:30.800 --> 01:55:37.820

and those are 10 or 12 books

01:55:37.820 --> 01:55:40.580

for something that I learned
from Kaps through Ascanio

01:55:40.580 --> 01:55:42.740

and it is mind, heart, and hand

01:55:42.740 --> 01:55:45.260

which are concepts, technique
and sensitivity

01:55:45.260 --> 01:55:49.140

so we take care of the technique,
many care about the concepts

01:55:49.140 --> 01:55:51.100

but nobody talks about sensitivity

01:55:51.100 --> 01:55:57.600

so that private collection are
just of books for sensitivity

01:55:57.600 --> 01:56:01.980

like "concerning the spiritual
in art" by kandinsky

01:56:01.980 --> 01:56:08.700

"letters to a young poet" by R. M. Rilke

01:56:08.700 --> 01:56:13.700

"The Book of Disquiet"
by Fernando Pessoa

01:56:13.700 --> 01:56:19.900

I want to name another one
but its not coming to mind

01:56:19.900 --> 01:56:32.400

"art and experience" by a Spanish
professor but I can't recall the name

01:56:32.400 --> 01:56:38.900

"libertad como pasion"
by daniel innerarity

01:56:38.900 --> 01:56:41.160

who is a great thinker from this country

01:56:41.160 --> 01:56:44.780

I'm not interested in politics
so I don't follow him there

01:56:44.780 --> 01:56:48.560

Another renowned author

01:56:48.560 --> 01:56:54.460

from whom I've taken lots from
is Jose Antonio Marina

01:56:54.460 --> 01:56:59.900

All of his books from "elogios
y refutacion del ingenio"

01:56:59.900 --> 01:57:04.120

to "teoria de la inteligencia creadora"
and "La selva del lenguaje"

01:57:05.200 --> 01:57:08.300

"el laberinto sentimental"
"etica para naufragos"

01:57:08.300 --> 01:57:11.380

Savater is another powerful thinker

01:57:11.380 --> 01:57:16.260

I don't think Savater is completely
right for sensitivity

01:57:16.260 --> 01:57:18.340

but "etica para amador"

01:57:18.340 --> 01:57:23.640

I think is a good read no matter
what age you are

01:57:23.760 --> 01:57:30.640

because it teaches you
the real value of ethics

01:57:30.660 --> 01:57:33.620

which is something no one talks about in magic

01:57:33.620 --> 01:57:37.900

I call it the dirty underwear ethics

01:57:37.900 --> 01:57:39.940

because you know if you
have changed or not

01:57:39.940 --> 01:57:43.040

even if it doesn't show, morals
are social ethics are personal

01:57:43.040 --> 01:57:47.460

just like excellence is something
you demand to yourself

01:57:47.460 --> 01:57:50.980

so it's an ethical concept

01:57:54.420 --> 01:57:57.420

making everybody see and feel the same

01:57:57.420 --> 01:57:59.320

the yes and yes cover has ethical roots
01:57:59.320 --> 01:58:03.400
I think is something you owe to yourself

01:58:05.040 --> 01:58:08.520

-That's a lot of homework
- yes, go work then.

01:58:08.580 --> 01:58:12.780

only if you want, it's not mandatory

01:58:12.780 --> 01:58:17.300

talking about the fictional conception

01:58:17.300 --> 01:58:22.640

you've always talked about the need
to think about the spectator

01:58:22.640 --> 01:58:25.360

what do you think is the part
of the spectator in magic

01:58:25.360 --> 01:58:32.660

it's essential because the magic view
of the world becomes impossible

01:58:32.660 --> 01:58:37.220

because we don't have it so we
have to be reminded of it

01:58:37.220 --> 01:58:39.520

but there's no direct way to do that

01:58:39.520 --> 01:58:44.340

so the spectator saves us from that

01:58:44.340 --> 01:58:48.020

so we can't lose sight of the
spectator in that sense

01:58:48.440 --> 01:58:51.180

that's the best gift that you can
get from a spectator

01:58:51.180 --> 01:58:52.340

seeing something for the first time

01:58:52.340 --> 01:58:55.680

so you have to look at magic from
that point of view always

01:58:55.680 --> 01:58:59.420

you always have to think about
the magic from outside

01:58:59.420 --> 01:59:02.520

outside and rescue that guy
because he's very important

01:59:02.520 --> 01:59:04.780

there's a lot to learn there

01:59:04.780 --> 01:59:08.420

in fact the best version of a game is
the one that the spectator makes

01:59:08.420 --> 01:59:10.900

for better or worse,
so let's strive for better

01:59:10.900 --> 01:59:18.340

let's look for whatever makes
him build that ideal version

01:59:18.340 --> 01:59:23.320

of the trick in his mind that he can
share later like Juan says

01:59:23.320 --> 01:59:26.180

memorability is very important

01:59:26.180 --> 01:59:29.400

and it must be something
to look for in tricks

01:59:31.120 --> 01:59:36.380

in the fictional conception you always
point the difference between

01:59:36.380 --> 01:59:39.040

the "prestimano" and the "magical self"

01:59:39.040 --> 01:59:43.640

that are to different things, could
you elaborate on that?

01:59:43.640 --> 01:59:46.280

of course, that comes from
the non magic readings

01:59:46.280 --> 01:59:49.860

in literature the talk about the
writer and the narrator

01:59:49.860 --> 01:59:52.380

in theater about the actor
and the character

01:59:52.380 --> 01:59:56.940

and those shades are important
because the writer writes

01:59:56.940 --> 02:00:00.640

but he has to choose a narrative
voice inside the fictional space

02:00:00.640 --> 02:00:05.120

where the novel or the story
exist. who is the narrator?

02:00:05.120 --> 02:00:07.420

is the same writer but if he is a witness

02:00:07.420 --> 02:00:10.120

a protagonist or an omniscient being

02:00:10.120 --> 02:00:13.660

his perception about that
space is different

02:00:13.660 --> 02:00:17.360

as a witness it can only talk
about what he's seen

02:00:17.360 --> 02:00:22.940

likewise if he's the protagonist he can
add feelings, memories and more

02:00:23.100 --> 02:00:28.220

and it can imagine things about
others but it can't be sure

02:00:28.220 --> 02:00:29.280

an omniscient narrator can

02:00:29.280 --> 02:00:33.340

the omniscient narrator knows all

02:00:33.340 --> 02:00:37.740

and I think those characters
are relevant to magic

02:00:37.740 --> 02:00:43.060

and the actor is the same, the actor knows
everything about the character

02:00:43.060 --> 02:00:45.220

but the character only lives
the present of the play

02:00:45.220 --> 02:00:47.460

even if the actor knows that

02:00:47.460 --> 02:00:47.500

the character it's going to die in the next scene

02:00:47.500 --> 02:00:50.780

as a character he can't be aware of that

02:00:50.780 --> 02:00:52.980

he knows it as an actor but
not as a character

02:00:52.980 --> 02:00:59.980

so he must act as if he's
not going to die

02:00:59.980 --> 02:01:02.100

magicians also have that inner conflict

02:01:02.200 --> 02:01:05.860

so to avoid that is separating the
"prestimano" and the "magic self"

02:01:05.860 --> 02:01:10.620

the prestimano is who thinks, theorizes,
rehearses and makes decisions

02:01:10.620 --> 02:01:17.040

specially in sleight of hand and the
magical self is who's going to act

02:01:17.040 --> 02:01:19.360

among the choices the
prestimano has to make

02:01:19.380 --> 02:01:22.300

are creating the magical self
and creating the spectator

02:01:22.300 --> 02:01:24.780

what kind of magician
needs to do this trick

02:01:24.780 --> 02:01:26.980

and what kind of spectator
I want to create

02:01:27.160 --> 02:01:30.780

the spectator is not there waiting for
you, you have to make him

02:01:30.780 --> 02:01:36.920

and change him mentally so
that he can feel touched

02:01:36.920 --> 02:01:39.900

because there's a connection
between the spectator

02:01:39.900 --> 02:01:43.960

and the construction of the trick

02:01:43.960 --> 02:01:48.200

because it was thought with
that look in mind

02:01:48.200 --> 02:01:51.800

if no one's looking you're
good with just books

02:01:51.920 --> 02:01:54.900

what book would you take
to a desert island?

02:01:54.900 --> 02:01:56.580

I wouldn't take a book
I'd take a spectator

02:01:56.580 --> 02:02:01.820

of course if you can take a
book I know you can

02:02:01.820 --> 02:02:03.000

because there's no one looking

02:02:03.200 --> 02:02:08.260

because the thing that's missing in most
magic books is the spectator

02:02:09.100 --> 02:02:14.500

and that drive me mad because I want
to know about the guy that's looking

02:02:14.500 --> 02:02:17.280

and what's going on with him and
I want to learn from that

02:02:17.280 --> 02:02:21.180

so when I do that trick for someone else
02:02:21.180 --> 02:02:25.200
I can be conscious about
the inner state of people

02:02:28.500 --> 02:02:31.840

the one that relates to the spectator
is the magical self

02:02:31.840 --> 02:02:35.860

of course, but the prestimano
must know the psychology

02:02:35.860 --> 02:02:39.640

the prestimano is the one
that reads Ascanio

02:02:39.640 --> 02:02:44.200

and in any case the magical self is
the one the experiences it

02:02:44.200 --> 02:02:51.960

for the prestimano life is what
happens while he thinks

02:02:51.960 --> 02:02:56.960

for the magic self life is life, so
thinking is for the prestimano

02:02:56.960 --> 02:03:02.580

the magic self lives in the present

02:03:02.580 --> 02:03:06.620

because magic is an art of time not space

02:03:06.620 --> 02:03:10.600

and of the present not a virtual time or

02:03:10.600 --> 02:03:13.420

something you can file or store,

02:03:13.420 --> 02:03:18.280

is not the movie time which is also is a
virtual value inside a movie

02:03:18.280 --> 02:03:22.580

but the present of the magic
self is the present time

02:03:22.580 --> 02:03:26.280

you get old as you preform

02:03:26.280 --> 02:03:29.820

I'm not the same that walked in

02:03:29.820 --> 02:03:31.740

and the spectator shouldn't
be the same either

02:03:31.740 --> 02:03:34.940

the spectator that started
watching the show

02:03:34.940 --> 02:03:36.440

can't be the same by the time you finish

02:03:36.440 --> 02:03:42.100

that guy changes along the trick
and you change with him

02:03:42.100 --> 02:03:50.380

so classifying the trick as openers,
closers, strong one, visuals

02:03:50.380 --> 02:03:56.400

I think is very poor and childish in any
case it should be more profound

02:03:56.400 --> 02:04:03.460

how to compose a trick so that the
person who watches it

02:04:03.460 --> 02:04:08.140

has changed by the time I'm done

02:04:08.720 --> 02:04:10.500

there are many ways

02:04:10.500 --> 02:04:15.460

so now you have to think about what
enriches him and what changes him

02:04:15.460 --> 02:04:19.300

I don't like the James Bond
type of magicians

02:04:19.300 --> 02:04:23.040

who come out of the beach
with perfect hair

02:04:23.040 --> 02:04:26.780

you can't come out of the session
like nothing happened

02:04:26.780 --> 02:04:31.420

at least sweat a little

02:04:31.420 --> 02:04:35.940

there are close up magic sessions
that if you walk

02:04:35.940 --> 02:04:38.740

into the room after it's over
you don't see anything

02:04:38.740 --> 02:04:41.500

not even a piece of paper in the ground

02:04:41.500 --> 02:04:43.740

it doesn't look like anything
happened, and there are others

02:04:43.740 --> 02:04:46.740

and you can't stop wondering
about what might have happened there

02:04:46.740 --> 02:04:48.740

that's living magic

02:04:49.760 --> 02:04:54.140

if someone who has no idea
of what was going on

02:04:54.140 --> 02:04:57.840

comes in and sees and starts wondering

02:04:57.840 --> 02:05:06.960

something happened there, just like
the houses from the magazines

02:05:06.960 --> 02:05:10.580

they look like no one
has ever lived there

02:05:10.580 --> 02:05:16.580

everything's so perfect that looks fake

02:05:16.580 --> 02:05:21.020

it's the same, anything a pacifier,
a toy, something on the floor

02:05:21.020 --> 02:05:25.160

life weaving through the experience

02:05:25.160 --> 02:05:31.800

take you jacket off, lose your
hair, do something
02:05:31.800 --> 02:05:39.180
sweat a little, and if somebody
comes later

02:05:39.180 --> 02:05:47.240

and sees everything it would have to
notice it like "what happened here"

02:05:47.240 --> 02:05:52.460

reality itself is talking to you, that's
what a magic session should be

02:05:52.460 --> 02:05:55.980

the James Bond magicians can stay home

02:05:55.980 --> 02:06:00.280

before you mentioned Juan (Tamariz),
Arturo (Ascanio) and Pepe (Carroll)

02:06:00.280 --> 02:06:03.500

-the inevitables
-the inevitables yes.

02:06:03.500 --> 02:06:07.260

you've recognized them as your
teachers as well as Micky Conesa

02:06:07.260 --> 02:06:12.100

yes, and it's impossible to think
about magic without them

02:06:12.100 --> 02:06:15.320

how is your relationship with them

02:06:15.320 --> 02:06:24.040

well everybody has their own story

02:06:24.040 --> 02:06:28.980

different and separated but very punctual

02:06:28.980 --> 02:06:32.940

Micky Conesa was my friend and teacher

02:06:32.940 --> 02:06:36.200

when there was too much secrecy and
mistery around magic knowledge

02:06:36.200 --> 02:06:39.340

in that time knowledge was equal to power

02:06:39.340 --> 02:06:45.280

so when you shared you lost your power

02:06:45.280 --> 02:06:50.980

a lot of class discrimination
and also about knowledge

02:06:50.980 --> 02:06:55.180

so people who went to Madrid, the ones
that speak english it was important

02:06:55.180 --> 02:06:57.980

it was important

02:06:57.980 --> 02:07:02.540

it was important to have all
the sources of knowledge

02:07:07.740 --> 02:07:13.340

when I met Micky Conesa he taught
me everything he knew

02:07:13.340 --> 02:07:16.880

the way he knew it with
absolute generosity

02:07:16.880 --> 02:07:23.980

later I could judge the tricks for myself

02:07:23.980 --> 02:07:34.080

if they were good or not so much but he
shared everything he had with me

02:07:34.080 --> 02:07:45.080

he's my friend and teacher and everyone
should have one person like that

02:07:45.080 --> 02:07:50.340

someone who opens up and pushes you

02:07:50.340 --> 02:07:52.540

to acquire knowledge that you
can't get any other way

02:07:52.640 --> 02:07:56.480

also he reads a lot and he knows
a great deal about magic

02:07:56.480 --> 02:08:02.840

my relation with Ascanio is
only through reading

02:08:02.840 --> 02:08:06.780

Juan is a teacher from life
watch Juan perform

02:08:06.780 --> 02:08:12.500

is a permanent lesson
without question

02:08:12.600 --> 02:08:16.020

I could spend a long time talking about

02:08:16.020 --> 02:08:21.040

the things that me and others
have learned from Juan

02:08:21.040 --> 02:08:29.800

Mr. Tamariz is inexhaustible so you
can't think without him

02:08:29.800 --> 02:08:36.660

even if you try to contradict or prove him
wrong, that's also convenient

02:08:36.660 --> 02:08:42.720

critic, friction, debate

02:08:42.720 --> 02:08:53.420

I worship Juan but I'm not him so
I can't think exactly like him

02:08:53.420 --> 02:08:57.700

I think he has the best
definition of magic

02:08:57.700 --> 02:09:01.000

he has the answer to many
questions. the magic as art

02:09:01.000 --> 02:09:05.980

a very different experience that no
other art can't create by itself

02:09:05.980 --> 02:09:09.860

every art is differentiated by the unique
experience that they create

02:09:09.860 --> 02:09:13.720

every art creates a different reaction from
all the other possible arts

02:09:13.720 --> 02:09:17.020

what's magic reaction? the
mistery of the impossible
02:09:17.020 --> 02:09:18.720
Juan talks about all of that

02:09:18.720 --> 02:09:21.260

and to this day I agree with that

02:09:21.260 --> 02:09:24.100

what I don't agree with
is with how is applied

02:09:24.680 --> 02:09:29.460

he applies it so the intellect
gives up to the feelings

02:09:29.460 --> 02:09:32.040

and the rainbow and everything else

02:09:32.040 --> 02:09:41.460

that's "the how", "the what" I kneel to
"the what" I light candles to

02:09:41.460 --> 02:09:45.400

and everything because without him all
of this would be very different

02:09:45.740 --> 02:09:49.040

wht this man has done for
magic is invaluable

02:09:49.040 --> 02:09:53.460

"the how" I disagree with and I'll say it
to him or the pope or even god

02:09:53.460 --> 02:09:58.460

"the how" is mine and nobody
can take it away

02:09:58.460 --> 02:10:03.880

I decide that. "the what" is there,
"the how" belong to me

02:10:03.880 --> 02:10:08.380

that's private. and that's Juan

02:10:08.380 --> 02:10:15.840

and Pepe Carrol performed 6 days a week

02:10:15.840 --> 02:10:26.920

he would do table hopping stealing watches
and load them into card boxes
02:10:26.920 --> 02:10:29.340
during the half show he would
do parlour magic

02:10:29.340 --> 02:10:32.100

and then he did 2 stage acts

02:10:32.200 --> 02:10:40.500

a parlour magic act, and a card manipulation
act and after all of that

02:10:40.500 --> 02:10:43.780

a one and a half hour of
close up magic set

02:10:43.780 --> 02:10:45.260

sorrounded by people, all of
that every single night

02:10:45.260 --> 02:10:50.080

and during those last session
he did the whole 52 lovers

02:10:50.080 --> 02:10:54.380

let's check the tricks and see how
easy the are, they are not!

02:10:54.380 --> 02:11:01.140

if you ever saw the glove color change
in front of the spectator

02:11:01.140 --> 02:11:07.180

and he took the gloves from the table

02:11:07.180 --> 02:11:09.860

two white gloves, he folded them
and open them back

02:11:09.860 --> 02:11:12.680

and one was red and the other was black

02:11:12.680 --> 02:11:15.460

he puts them on and did a
follow the leader routine

02:11:15.580 --> 02:11:18.000

and he did that at a table width
from the spectators

02:11:18.000 --> 02:11:20.180

that was close up magic
in all of its glory
02:11:20.180 --> 02:11:22.300
and that's a big point of
ebate these days

02:11:22.300 --> 02:11:26.060

if the spectator has to stand
up to pick the card

02:11:26.060 --> 02:11:27.900

then that's not close up magic,

02:11:27.900 --> 02:11:32.600

if they have to stand up to take the card
then that's not close up magic

02:11:32.600 --> 02:11:36.260

close up magic is up close

02:11:36.260 --> 02:11:39.120

it the mat smells like vinegar
they have to smell it

02:11:39.120 --> 02:11:46.600

everything, if you have not taken
a shower you're screwed

02:11:46.600 --> 02:11:51.080

but far away it doesn't matter

02:11:51.080 --> 02:11:54.420

close up magic is very close all around

02:11:54.420 --> 02:11:56.420

and that's and added value
that's always been there

02:11:56.420 --> 02:12:02.900

the closeness, not because they
interact more or shuffle

02:12:02.900 --> 02:12:08.100

eve if just an exhibition if they're
looking from there

02:12:08.100 --> 02:12:13.940

it's totally different and that difference
adds artistic value to magic

02:12:13.940 --> 02:12:18.940

and demands skill from the magician
02:12:18.940 --> 02:12:24.200
is not that easy

02:12:24.860 --> 02:12:29.480

-that' a great answer
-I do what I can

02:12:29.480 --> 02:12:35.820

could you define stages of
your magical conceptions?

02:12:35.820 --> 02:12:39.700

it's difficult because the concerns
come before that

02:12:39.700 --> 02:12:41.640

hat and you don't were they come from

02:12:41.640 --> 02:12:48.980

but there's a state of satisfaction
that you need to absorb

02:12:48.980 --> 02:12:54.520

I've never understood why some people
care about this and others don't

02:12:54.520 --> 02:12:59.520

so you can't say if you don't this
or if you don't read that

02:12:59.520 --> 02:13:04.520

you can't be a magician,
you can't say that

02:13:05.060 --> 02:13:13.860

because you are defined by your needs
and the way you fulfill them

02:13:13.860 --> 02:13:17.100

that led me to reading outside magic

02:13:17.100 --> 02:13:19.440

but I don't think I'm able to explain it

02:13:19.440 --> 02:13:25.340

but what I did was to look for people
who knew more than me

02:13:25.340 --> 02:13:27.020

and that's something you
always have to do
02:13:27.020 --> 02:13:29.820
listen to who knows

02:13:29.820 --> 02:13:32.780

and at least learn how to distinguish
between who knows and who doesn't

02:13:32.780 --> 02:13:37.200

be humble enough to admit
you have no idea

02:13:37.200 --> 02:13:43.780

like socrates said "I know that I know
nothing" just look for who knows

02:13:43.780 --> 02:13:48.540

and that's how my non
magic reading started

02:13:48.540 --> 02:13:52.280

he magic and the arts,
the queen of the arts

02:13:52.280 --> 02:13:57.280

and nobody knew anything
about that, magic and art

02:13:58.420 --> 02:14:05.960

it was like a bad joke, so I want to read
about art what can I read?

02:14:05.960 --> 02:14:13.660

and a friend who I respected very much told me

02:14:13.660 --> 02:14:18.460

"the necessity of art" by Ernst Fisher

02:14:18.460 --> 02:14:20.960

and "la definicion del arte"
by umberto eco

02:14:20.960 --> 02:14:24.820

understanding that book
takes a lot of work

02:14:24.820 --> 02:14:28.980

and those were the book with which I
started the non magic reading

02:14:28.980 --> 02:14:35.540

in my twenties, by that time I
used to work as a janitor
02:14:35.540 --> 02:14:41.960
because I never wanted to
live out of magic

02:14:41.960 --> 02:14:46.300

that implied to deal with people
I didn't wanted to see

02:14:46.300 --> 02:14:54.100

people that made me change my conception
into something I didn't wanted

02:14:54.220 --> 02:14:59.620

only doing commercial tricks in conditions

02:14:59.620 --> 02:15:02.640

that didn't fit my needs so it was
too high of a price to pay

02:15:04.000 --> 02:15:09.680

and the funny thing is when I worked there
well what they consider work

02:15:09.680 --> 02:15:15.940

I consider it like I was subsidized and I
was paid to read and to be there

02:15:16.260 --> 02:15:22.700

I didn't made a lot of money but
was investing time, not money

02:15:22.700 --> 02:15:27.700

and that was a great time

02:15:28.640 --> 02:15:32.800

reading when you have eternity in front
of you it changes how you read

02:15:33.480 --> 02:15:38.900

reading in a hurry it's difficult but if
you have 8 hours to read

02:15:38.900 --> 02:15:42.020

you can read lots

02:15:47.640 --> 02:15:53.040

I got lost, are you here? I don't know
where I went there

02:15:53.160 --> 02:15:56.980

- so that was what started changing you
and shaping your conceptions

02:15:56.980 --> 02:15:59.960

-but of course, because it's great

02:15:59.960 --> 02:16:02.360

here is where the art of
plagiarism was born

02:16:02.440 --> 02:16:05.300

that is when you change one word
for another one and that's it

02:16:05.300 --> 02:16:07.140

"the bow and the lyre" by Octavio Paz

02:16:07.140 --> 02:16:09.120

change poetry for magic and that's it

02:16:09.360 --> 02:16:13.140

there are machines that can write
poems but not poetry

02:16:13.140 --> 02:16:17.220

likewise there are machines that
can do tricks but not magic

02:16:17.220 --> 02:16:21.540

so when you did this you arrived
to complex thoughts

02:16:21.540 --> 02:16:23.680

and that you'd never find in a book

02:16:23.680 --> 02:16:28.680

so the art of plagiarism well
applied is great

02:16:29.580 --> 02:16:34.020

-one last question
-what a shame

02:16:34.520 --> 02:16:40.920

truly, some months ago I heard you say

02:16:40.920 --> 02:16:45.060

that you aspire to a higher magic

02:16:46.400 --> 02:16:50.700

-so I wanted to ask you what did you
meant by that?
02:16:50.700 --> 02:16:53.880
- I have no idea

02:16:53.880 --> 02:16:57.020

maybe if I said it like that

02:16:58.660 --> 02:17:01.360

maybe it was because of the circumstances
of the moment

02:17:01.360 --> 02:17:06.860

It sound pretentious of me to
say that, so I don't know

02:17:06.860 --> 02:17:12.420

if I had a clearer idea of the context

02:17:12.420 --> 02:17:15.020

it had to do with respect and knowledge

02:17:15.020 --> 02:17:17.280

about all of those thing that
we still need to learn

02:17:17.280 --> 02:17:20.960

magic as an art would be what
I understand by high magic

02:17:21.220 --> 02:17:24.660

but magic as an art can be very humble, you don't have to make a
dinosaur appear

02:17:24.660 --> 02:17:31.120

you don't have to make a dinosaur appear

02:17:31.120 --> 02:17:36.700

we could still do twisting the aces by
Vernon or the dreamed card

02:17:36.700 --> 02:17:41.020

it's a very big difference

02:17:41.020 --> 02:17:44.500

when you understand it as art
instead of a trick or a secret

02:17:44.500 --> 02:17:46.360

or a secret that has to be
hidden as a deception

02:17:46.360 --> 02:17:55.500

something I always say about
fictional magic is that

02:17:55.500 --> 02:18:00.500

the landscape hasn't changed
only the way we look at it

02:18:00.500 --> 02:18:07.320

the trick has the same
requirement as always

02:18:07.320 --> 02:18:15.020

the effect must be clear, the shuffle, the
feeling that the card is lost

02:18:15.020 --> 02:18:17.860

that the spectator remembers
that the deck was shuffled

02:18:17.860 --> 02:18:22.860

preparing them for the impossible
so when the effect hits them

02:18:22.860 --> 02:18:25.500

it does with it's full power,
all of that is the same

02:18:25.500 --> 02:18:27.860

the way of doing it can be very different

02:18:27.860 --> 02:18:33.180

it doesn't have to appeal to the
negative part of the trick

02:18:33.180 --> 02:18:36.580

with "I didn't touch" or "you shuffled"
and stuff like that

02:18:36.580 --> 02:18:40.720

the agnostic magician who dispenses
of the concept of the trick

02:18:40.860 --> 02:18:43.480

as a magician I don't really care

02:18:43.620 --> 02:18:46.660

I'm agnostic, the prestimano
already made his decision

02:18:46.660 --> 02:18:48.980

then when I switch to my magic
self I know he did his job
02:18:48.980 --> 02:18:50.040
and now I'll do mine

02:18:50.040 --> 02:18:53.540

the trick or no trick doesn't
matter to me

02:18:53.540 --> 02:18:57.740

I have different needs to be met with the
presentation of the trick

02:19:00.560 --> 02:19:04.260

even though the effect is a priority

02:19:04.260 --> 02:19:07.180

then the big question from
Juan is "what's the effect?"

02:19:07.180 --> 02:19:11.480

and it's all for the effect

02:19:11.480 --> 02:19:19.280

in my case this translates to

02:19:19.280 --> 02:19:24.140

phenomenons, the effect? a transposition,
the phenomenon?

02:19:24.140 --> 02:19:28.560

I don't know, traslation, dematerialization,
or whatever you want

02:19:28.560 --> 02:19:33.980

the ambitious card, and
why not the obsession?

02:19:33.980 --> 02:19:38.980

which is as abstract as ambition

02:19:38.980 --> 02:19:42.700

but the effect must be clear,
the phenomenon can't win

02:19:42.700 --> 02:19:45.260

the patter can't be more important
than the effect

02:19:45.260 --> 02:19:48.380

and everything depends on the effect

02:19:48.380 --> 02:19:53.780

now the experience demands something
more than the pure effect

02:19:53.780 --> 02:19:58.620

in many occasions, so there's a way of transmitting the experience
to the spectator

02:19:58.620 --> 02:19:58.620

in many occasions, so there's a way of

02:19:58.620 --> 02:20:01.960

transmitting the experience
to the spectator

02:20:01.960 --> 02:20:09.060

the time machine, the feeling that
we traveled back in time even

02:20:09.060 --> 02:20:11.100

but you can feel it on your spine

02:20:11.100 --> 02:20:15.100

the Coleridge flower a dream
stepping into reality

02:20:15.100 --> 02:20:22.220

the spectator counts 10 cards

02:20:22.220 --> 02:20:26.600

and what number did you almost dreamed?

02:20:26.600 --> 02:20:31.600

"for the first time!" that's drama
and it helps the effect

02:20:31.600 --> 02:20:38.860

"now tell me" now, that all
the work's done

02:20:38.860 --> 02:20:46.500

and there's nothing to do. "what number
is dancing in your mind?"

02:20:46.500 --> 02:20:52.380

a 3, "and all the cards are in your
hand" an emotional hook

02:20:52.380 --> 02:20:54.780

that you've set up from the
flower of Coleridge

02:20:54.780 --> 02:20:56.220

and the patter about the dream
02:20:56.300 --> 02:21:03.000
count, 1, 2 and 3 either everybody starts
shaking or I jump out the window

02:21:03.000 --> 02:21:07.340

the timing, the pauses, everything

02:21:07.340 --> 02:21:10.420

the clarity, the effect is understood,
the cards grow

02:21:10.420 --> 02:21:11.840

you imagine a number

02:21:11.880 --> 02:21:14.620

and that number of cards appear
in a packet that was counted

02:21:14.620 --> 02:21:17.700

and it hasn't been touched

02:21:17.700 --> 02:21:20.980

the conditions are the same, the
landscape is untouched

02:21:20.980 --> 02:21:23.060

but they way we're looking
at it is different

02:21:23.060 --> 02:21:26.560

you can do the same many other ways

02:21:26.560 --> 02:21:30.820

but you've never come close to the cards

02:21:30.820 --> 02:21:35.220

how do you achieve the feeling that you
never came close to the packet

02:21:35.340 --> 02:21:39.700

and now are 3 more cards, or 5 or 7

02:21:39.700 --> 02:21:44.120

whatever number the spectator has in mind

02:21:44.120 --> 02:21:51.040

now how to achieve it belongs to
you and there is where

02:21:51.040 --> 02:21:53.180

everybody has to look for it's own way
02:21:53.180 --> 02:21:57.100
to enrich magic with it
and turn it into art

02:21:57.100 --> 02:22:00.040

art is personal

02:22:00.040 --> 02:22:07.280

it starts from our needs and concerns
and how we communicate them

02:22:07.280 --> 02:22:11.100

we are too alike

02:22:11.100 --> 02:22:17.060

even our clothes, everybody
dresses in black

02:22:17.060 --> 02:22:22.060

Gabi thank you so much for all of this

02:22:22.060 --> 02:22:24.880

you leave us with a lot of
homework for digestion

02:22:24.880 --> 02:22:29.860

recorded and everything, don't miss it

02:22:29.980 --> 02:22:34.720

let's give him a big round of applause

02:22:45.880 --> 02:22:51.340

thank you all for being here

02:22:51.340 --> 02:22:54.660

we'll see you next month with Miguel
Gomez and the pleasure of magic

02:22:54.660 --> 02:22:59.660

kisses from grupo Kaps and
we'll see you soon