$550 book

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erdnasephile
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$550 book

Postby erdnasephile » September 8th, 2014, 9:11 pm


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Re: $550 book

Postby Richard Kaufman » September 8th, 2014, 9:15 pm

What do you think about this part?

"Please note: Most of the gimmicked artworks necessary to perform these effects have not been created yet, but along with this book, purchasers will receive access to an on-line drop box so they will have access to all the artworks as they are created. This is a time-consuming process and will likely take several years but if there are requests to produce any particular cards sooner rather than later, I am totally open to that."

The emphasis are mine, and those statements beg the question, why the heck don't you wait to publish the book until you've actually finished the required artwork!
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Re: $550 book

Postby Roger M. » September 8th, 2014, 9:27 pm

I don't mean to sound jaded, but why would "I" pay $550.00 to protect "YOUR" ideas?

The reason the book is being released while missing a whack of content is clearly stated as being to protect his intellectual property, as stated here:

"Shortly after the release of The 100th Monkey, Richard Osterlind suggested that to protect my ideas, I should release all the effects I'd come up with using this method quickly, even if that meant I didn't have all the cards made and the DVDs shot"

Seems disingenuous at the very least, perhaps a bit dopey at the most.

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Re: $550 book

Postby NCMarsh » September 8th, 2014, 9:28 pm

I liked their transparency about the reason both for the publication and the pricing -- Chris has published a new and great principle and, the magic-industrial complex being what it is -- you could see the potential for others to jump out and sell a ton of stuff based on the principle that Chris had already invented. The book seems to be a place-holder: "we want to establish the crediting for this material and make clear that it is Chris' to sell, if access to this material is worth it to you, you can get it at a premium price point."

I appreciate that they are honest about the shortcomings -- I can imagine being upset to shell out the cash and then discover that the artwork wasn't finished.

Congrats to Chris for creating something that is both new and outstanding -- it is rare for a new principle to come along and rarer still for it to be valuable. I hope he benefits a lot from the fruit of his creativity.

N

[Correction: the original version of this post suggested that buyers ought to be given access to the new artwork as it becomes available, reading the copy on Chris' site this was exactly the idea all along. My mistake for stating otherwise.]

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Re: $550 book

Postby Chris Aguilar » September 9th, 2014, 12:11 am

I wonder why it's going to take them years to create additional hybrid images.

Creating line art and text based hybrid images is really easy. With about 10 minutes of research and 10 minutes of work in GIMP (free graphic editor) I was able to create one with no fuss.

Image

Up close, gibberish. At a distance (or shrunken down) easily readable.

With a tiny bit of work, I can see automating the process.

For those with a good image editor (like photoshop, gimp, etc.) some really great tutorials exist.


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Re: $550 book

Postby NCMarsh » September 9th, 2014, 1:46 am

Chris Aguilar wrote:I wonder why it's going to take them years to create additional hybrid images.


Where are you getting "years" from?

And more to the point, why take it upon yourself to expose a crude version of the principle behind a commercial release in this forum? Someone has put a ton of thought into intelligently developing the raw principle in creative ways and applying it to magic. The basic optical principle has been out there for any of us to develop and work up -- Chris Philpott actually did it and did it in a big way.

The above post is a dick move -- it's the attention starved kid screaming out "it's a string hanging from his ear." It tempts me to want to expose the original, highly effective principles you've introduced to magic. Oh, that's right...

Chris Aguilar wrote:Creating line art and text based hybrid images is really easy. With about 10 minutes of research and 10 minutes of work in GIMP (free graphic editor) I was able to create one with no fuss.

Image



And it looks like sh*t. The blur and eye strain remind me of staring at the old "magic eye" posters in the mall and immediately suggest an optical principle. Contrast that to the clear, sharply defined text in the David and Leeman clip -- where the words look like they've been printed. The point isn't to develop a hybrid image, the point is to develop deceptive hybrid images that look like they're just printed text. Garbage like this only serves to expose the method to audiences.

Details matter.

We have access to an amount and quality of material that no other generation of magicians has had. Why are we beating up the creative drivers of that over stupid B.S.? Why are we undermining their ability to be fairly compensated for helping us? If you don't want the book, or have an issue with how the creator has decided to release HIS work -- don't buy it!

N

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Re: $550 book

Postby Chris Aguilar » September 9th, 2014, 2:11 am

NCMarsh wrote:
Where are you getting "years" from?



You didn't enjoy the video? I thought it was a very nice explanation of the principle with some great advice on replicating that sort of optical illusion with very minimal effort.

I recall some fellows over at the green joint having some fun with the concept a few years back.

It's not tough to find plenty of teaching out there to assist one in learning the technique. Magic related or not, these seem pretty fun to create and I look forward to trying my hand at some photo related "hybrids".

As far as the text based hybrids go, thanks to your constructive criticism I've now found a faster and more effective way to create that "printed text" look you mention.
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Re: $550 book

Postby erdnasephile » September 9th, 2014, 10:11 am

I've got no issue with how Mr. Philpott chooses to try to profit from his work as he has every right to do.

That said, I wonder if his stated reason for releasing this book will actually accomplish that goal.

If the aim is to establish credit for his ideas, then really only a maximum of 100 people will ever know a routine is "his". The broad swath of magicdom will not, so I wonder if credit will truly be established if no one knows the ideas are his. To clarify, I'm talking about "establishing" in the practical sense (i.e., Letting everyone know "This is mine--don't steal it!"), not in the factual or moral sense.

In terms of protection: as has been discussed many times before, trying to practically protect magic effects in the US is a difficult proposition, and I'm not sure if this book would materially aid in that defense. (I'll leave the legal discussion to the lawyers though).

NCMarsh: I think the "years" came from the advertisement from the book.

Finally, the notion of charging hundreds of dollars for project that is incomplete will only be as successful as the faith of the well-heeled who can afford to risk the dough.

There is at least 1 major project I've paid for and been waiting on for years, and I have to admit gritting my teeth as I watch that person keep releasing other projects before tending to what I paid for. In that case, however, the risk is a fraction of what is being asked here, so I just grin and hope. The "cottage industry" excuses do get a bit tiresome, however. If you can't deliver the goods, it's not cool to take the money, IMHO.

If Mr. Philpott can convince $55,000 worth of folks to put their trust in him, so be it.
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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 10:21 am

A process bringing things laymen already know into the magic may as well be called pre-exposure.

Agreed there's much to explore and enjoy on the making side.

But is it deceptive? Does it really stand up as more than a sight gag on a tv science show?
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Re: $550 book

Postby Roger M. » September 9th, 2014, 10:45 am

It's established then that this is a well trodden graphic arts concept, and was developed by somebody other than Mr. Philpott

Chris A's link above would indicate that quite a few magicians (some reasonably well known) were playing around with this idea and applying it to magic and mentalism a few years ago such that they made substantial note of in on the Magic Cafe.

Forgive me, but it would seem that beyond taking a well established graphic arts idea that had already been explored by magicians and developing a few routines with it, the actual root concept and and applying it to magic are, in fact, not original to Mr. Philpott.

So an over the top price for an incomplete book is an attempt to quickly lay claim to something as it applies to magic in an effort to establish ownership?

Chastising those who would detail this basic process in a public forum is simply ridiculous. Nobody has exposed Mr. Philpott's personal or proprietary explorations of the basic concept.

There's nothing secret, nor is there anything original to this basic concept such that Mr. Philpott or his sycophants can lay claim to it, or scold others for noting its basic principals.

Congratulations to Mr. Philpott for taking an old graphic arts process, and an existing magic/mentalism concept - and exploring it further.

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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 10:47 am

erdnasephile wrote:I've got no issue with how Mr. Philpott chooses to try to profit from his work as he has every right to do.

That said, I wonder if his stated reason for releasing this book will actually accomplish that goal.

If the aim is to establish credit for his ideas, then really only a maximum of 100 people will ever know a routine is "his". The broad swath of magicdom will not, so I wonder if credit will truly be established if no one knows the ideas are his.

In terms of protection: as has been discussed many times before, trying to protect magic effects in the US is a difficult proposition, and I'm not sure if this book would materially aid in that defense. (I'll leave the legal discussion to the lawyers though).
...

If Mr. Philpott can convince $55,000 worth of folks to put their trust in him, so be it.


E*, the fixed expressions are protected by copyright. The perception/cognition principles are in print and easily found in the internet as amusements. The scripts one uses to present may find protection as plays. The themes may not hold as original works as such is discussed in Scot's book Discoverie. What's different here is that you don't need to cue or bring in your demonstration subject. A difference that makes no difference to the audience is (not?) a difference in our craft? That's a question we may need to discuss.
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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 10:54 am

Chris Aguilar wrote:I wonder why it's going to take them years to create additional hybrid images....


By way of a parallel argument -
Chris, is there a really good reference for learning and then choosing between use of the multiple lift and using card switch sleights? Clearly Hofzinser already did the work for his own routines but now that we have smoother cards can even get thin cards ...

Yes, understood you do get the moment where someone is standing on top of the image unable to see the same thing as the audience further back - but remember there are a bunch of folks at various distances and with varied vision abilities who may squint, wonder and comment about obvious ambiguities.
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Re: $550 book

Postby Ian Kendall » September 9th, 2014, 10:57 am

Does anyone remember when Tom Stone's Moonshine Monologue came out? Because that has the same thing in it (and may predate the 100th Monkey)

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Re: $550 book

Postby Chris Aguilar » September 9th, 2014, 11:13 am

Jonathan Townsend wrote:
Yes, understood you do get the moment where someone is standing on top of the image unable to see the same thing as the audience further back - but remember there are a bunch of folks at various distances and with varied vision abilities who may squint, wonder and comment about obvious ambiguities.

Good point Jon. That potentiality could possibly (probably?) greatly undercut the usefulness of this principle for magic/mentalism purposes.

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Re: $550 book

Postby Tom Stone » September 9th, 2014, 11:31 am

Ian Kendall wrote:Does anyone remember when Tom Stone's Moonshine Monologue came out?

Last week in September 2009, I believe. Or the week after.
Came up with a bunch of ideas then, but the thing I published was a minor variation of C. Rawson's trick.

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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 12:00 pm

There was an item a while ago using a matchbook and angle printing where you get the image of a card to appear in a flame. Has that worked reliably for folks?

May as well also explore using Scot Kim's Ambigrams as methods.
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Re: $550 book

Postby Joe Mckay » September 9th, 2014, 12:35 pm

Angelo Carbone has a trick with an image that looks like Marilyn Monroe up close and Albert Einstein from a distance.

It is in his lecture notes and also appeared in the issue of GENII magazine that Carbone was on the cover for.

As for the angle printing on a matchbook and the image that appears in a flame - that Jonathan mentiones. Has anyone got a reference for that? I collect tricks that involve unusual optical principles and I am not familiar with this particular trick.

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Re: $550 book

Postby AJM » September 9th, 2014, 1:00 pm

Nothing new here in my view - the Monroe/Einstein picture is trotted out regularly in the mainstream media.
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Re: $550 book

Postby NCMarsh » September 9th, 2014, 1:12 pm

The notes of prior explorations of the principle for magic are important -- I know I, and I'm sure others, were under the impression that Philpott was the first to go there.

It is clear, and also important, that Philpott has put a helluva lot of work into a.) developing damn fine applications of the principle to engaging plots and b.) making it practical and deceptive (every example of a hybrid image in the cafe thread had that crude "magic eye" quality to it that is a straight line to method).

I think the biggest things I'm pushing back against are two basic attitudes in the atmosphere of the magic community that we tend not to talk about, and that I feel underlie a lot in this thread:

a. that we're all entitled to all information

b. that creators should be ashamed to value their work

This second prong bugs the heck out of me.

We are fortunate to be in a business environment where corporations are willing to invest $5-25k for quality , non-name entertainment (and, when you look at our contribution to the success of those events and the business value of the event itself, they're getting a bargain at those numbers). Whether we're at that level now, building to that level, building a strong business in another market that we're passionate about, or living the life we want at whatever price point we're at: we need to be as willing to invest in the creative pros that we work with, as our clients are willing to invest in us.

Whether they are website designers, photographers, videographers, or -- even -- magic book writers; it either makes financial sense for us to spend what they ask, or it doesn't. But, unless something is manifestly not of the quality it was advertised to be, there is no place for shaming them for valuing themselves and their work.

And that's how this thread has come off: $500? How dare he, I can make a crappy version of the gimmick! Magic Ventures wants how much to build this? I can knock that together with some cardboard and duct tape...why does it take them so long?

The price is just a line item. Your current situation makes it either worthwhile, or not worthwhile, to invest it. But there is nothing wrong with creative professionals valuing themselves and their work.

I do want to be extra clear, because there is a dangerous trend in the other direction, that I'm not advocating that you buy an act (part of me wonders if we'll get to a time when Bill Abbott, Bob Kohler, and Scott Alexander -- all of whom I am a HUGE fan of -- start selling us their clothes along with their words and material..."5 minutes you can add to your show right now" -- danger, the village of the hacks lies in that direction (coming from someone who spent time living there)).

Cheers,

N

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Re: $550 book

Postby Chris Philpott » September 9th, 2014, 1:27 pm

Ooh, there’s a lot of talk about my book! Let me see if I can answer any of your questions.

Erdnasephile: “550! Wow...that's a lot of cash.”

Yes it is. I consulted a number of people about what I should charge for this before releasing it and got a wide range of suggestions, including $899 from a marketer I respect enormously (Paul Harris consults with him and he also writes for this magazine). The magic market is widely diverse – hobbyists, afficionados, collectors and pros – and each has a different set of priorities. There are relatively few ways of targeting a release to the segment of the market you wish to reach – price is one of the most effective.

Roger M: “why would "I" pay $550.00 to protect "YOUR" ideas?”

Hey Roger, the short answer is, you don’t have to. Consider my two options: 1) I don’t publish these effects. Result: you don’t have access to them, others (who want them) don’t have access to them and I’m not protected. Option 2: I do publish them but in a limited edition at a restrictive price. Result: you don’t have access to them, others (who want them) do, and my work is protected. The result may not be any better for you personally (sorry about that!) but the other two groups are much better off. Sadly (as many have pointed out), in the magic community protection of intellectual property is a flimsy thing at best, but publication is better than nothing.

Richard Kaufman: “why the heck don't you wait to publish the book until you've actually finished the required artwork!”

Fair question, Richard. First let me say that you are one of my heroes (I was one of your original subscribers to Apocalypse – I just hope you don’t hold it against me that I write for your biggest competitor ;). I have to say, I shared your thinking at first. But Richard Osterlind warned me (the first of many) that now that I’ve published the 100th monkey principle, others would start putting out tricks based on my ideas and if I wanted to protect the effects I’d already come up with (he had seen the original draft of this book), I better publish all my other effects as soon as possible. There was no possible way to do this and create all the artworks in time. (While the core technique to make these cards has been around since 1994, has been experimented with by other magicians and is quick and easy to do, none of the work produced solely with this method passes the threshold of convincingness. The real work, worthy of being shown on prime time TV – https://www.youtube.com/watch?v=pfTW-ysPHCI – takes considerably longer. I’ve tried to be upfront about the other principles at work here in both the original 100th Monkey and the book. Those who say “there is nothing new here” likely do not have the 100th Monkey – it took me months of experimentation with little reasonable hope of reward to get the illusion to this state.)
Faced with the tough choice of either putting out my work without all the cards, or having my ideas scooped out from under me, I chose to protect my ideas and publish but to do so with full transparency (thank you, NC Marsh for appreciating this). Is it unusual? Yes. But it seemed to be the best, fairest thing to do in an unusual situation. (And Richard M, it may indeed be dopey, but there is nothing disingenuous about this – I am trying to be as honest and clear about this as I can).
At this moment, there are 558 cards in the dropbox that goes along with the book. Next week there will be more and in the end there will be thousands (this is a huge undertaking). In any event, as I also mentioned in the ads, I am open to creating cards based on the requests of those who buy the book. Those people will then have an effect (many of them are extended, fully-scripted routines) that will not be available to the wider magic community for perhaps years. For many professionals, this is an extremely valuable thing.
My original thought was just to put out a limited edition release pdf or book from Lulu – Patrick Wolford at Murphy’s, who knows this market far better than I do, suggested that I go leather-bound, signed-and-numbered, even if that added significantly to the cost. It did.
But his expertise seems to have been correct. Murphy’s sold out of their initial order within minutes H&R Magic Books scooped up over half of Murphy’s stock and they sold out of their stock in less than a day (they will be getting more). Adding the sales I’ve made through my website and those sold on Hocus Pocus, more than half the books have already been sold and the book hasn’t been out for a week yet. (Maybe I should have priced them at 899! Nah…)
Obviously, this is a business and of course I’m trying to maximize the profits. But I’m also trying to build good long term relationships with customers and the magic community at large. So I try to put out good work (and I’ve always gotten a lot of great reviews, including in Genii: http://www.magicaonline.com/the_100th_monkey.htm ) and then I provide loads of extras – anyone who has the 100th Monkey and has registered it will tell you that I send out all kinds of free extras – new handlings, performance footage, new cards, new effects (good effects too: one of these bonus effects has been performed on national TV: http://video.foxnews.com/v/321227042600 ... show-clips ).
But in the end, the book should be judged by its magic. I’m happy to say I’ve just received my first quote on the book (from someone whom I have never had the pleasure of meeting, but who called the original 100th Monkey “absolutely brilliant”):

"Started really reading it, not scanning and all I can say, is "fantastic!" I am up to the One ahead envelope ploy and think it very, very, very, very did I say very, ingenious. Lovely. Your work stands on itself and when that happens, rare..."
- Banachek

I hope this clarifies some of the issues surrounding this release and I’m more than happy to answer any more questions.

-Chris Philpott
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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 1:30 pm

@Nathan, folks, Lack of vetting and tolerance for ad copy pretty much keep things at street level in magicdom. For every item that's been refined over decades of performing and improving by real world experience there are likely hundreds proffered with no such track record. Craftsmanship in presentation and props will command appropriate prices from those who seek such things.

@Joe, Tannen's had the item around 1980.

@Chris, the quote/blurb which would persuade is something like "I started using it in my act and now it's my feature item! It's a winner - thanks for making it available!" The distance of what we read from that content is a quick gage of "useless/amusing vs thought provoking/well the book looks well designed if you're into publishing".
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Re: $550 book

Postby erdnasephile » September 9th, 2014, 3:04 pm

Hi, Chris:

Thanks for coming and explaining your rationale for the project.
It's a shame that you had to worry about others stealing your ideas, but I'm glad your strategy is paying off for you.
Again, props to you for coming in.

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Re: $550 book

Postby Richard Kaufman » September 9th, 2014, 3:41 pm

Chris, thanks for your thoughtful contribution to this thread. It always makes for a better and more balanced discussion.

I would only make two comments: My guess is that more than 50% of your sales are to people who are going to wait until it sells out and then flip the book for double the price to make money. You can't judge the value of any limited edition by how quickly it sells. I've been publishing books since 1977, and so can speak with some small degree of experience.

The book will be up on a torrent site with days of its release, as will all the other items you put in the drop box. I do not make this statement with any pleasure since my own books are all up there too. My point is that the entire idea of having a "limited" edition (if that's the only edition being published--as opposed to a more richly produced edition and a normal edition published simultaneously) no longer makes any sense when everything is up on the internet for nothing. What's limited is the physical book, not the contents of the book, which unfortunately anyone can download and not pay a penny.

The reviews of your work have generally been very good, and I wish you the best of luck, as I would to anyone who has good original material. But publishing the book before the material is complete (which is what I would expect when paying $500 for a book--everything should be printed between the covers) seems like the wrong course to take. People are going to steal your ideas and republish them anyway whether you wait or not.
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Re: $550 book

Postby Dustin Stinett » September 9th, 2014, 3:58 pm

I don't know about everyone else, but I find Richard's comments far more telling (and critical) of the state of our "community" than of Chris's go-to-market strategy.

Too bad.

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Re: $550 book

Postby NCMarsh » September 9th, 2014, 4:30 pm

Dustin,

Sometimes I wish we had a "like" button here...

N

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Re: $550 book

Postby Roger M. » September 9th, 2014, 5:15 pm

Just to stay on the balanced path Chris, I'd note that the Howie Mandell video clip highlighting your Speechless effect played brilliantly on television.

For laymen watching (and the judges sitting 15 feet away), Speechless played as totally inexplicable magic.

Even knowing what was happening while watching, one still had that oft sought, but rarely experienced giddy feeling of wonder.

You know you've got a winner when the finale is followed by the specs involved in the effect legitimately asking each other "what just happened?"

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Re: $550 book

Postby Jonathan Townsend » September 9th, 2014, 5:48 pm

Sounds like four yes votes from the judges of America's Got Talent. :)
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Re: $550 book

Postby Andrew Pinard » September 10th, 2014, 8:16 am

Roger M. wrote:You know you've got a winner when the finale is followed by the specs involved in the effect legitimately asking each other "what just happened?"


While I never met Vernon, I think he might not view that as success. What was it that he said? Oh, yes. "Confusion is not magic."

Or words to that effect.

No comment on the book, I am fascinated by perceptual puzzles and things that transform. I hope to get a copy of the book, but find it unlikely at this time...

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Re: $550 book

Postby Roger M. » September 10th, 2014, 10:01 am

Vernon suddenly a straw man?
OK, I'll bite - a Vernon quote often misused, as you misused it just now.

Vernon wasn't referencing an effect whereby different groups (1 or 2 or more specs involved) each experience different things, thus asking each other "what just happened".
In magic that's a principal called multiple reality Andrew ... it's not confusion.
As you already know all about multiple reality, there's no need to explain it here.

Vernon was referencing an effect (poorly scripted or blocked) whereby the spec didn't understand what the magician was doing or what the magician was trying to demonstrate.

In the case of the Speechless effect, the spec knew exactly what the magician was doing ... he was holding up cards with gibberish written on them. There was no confusion whatsoever as to what the magician was doing.

The overtly demonstrative reaction of the audience, and the panel of judges clearly indicates the strength of the effect, and the clarity with which the magicians demonstrated their craft.

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Andrew Pinard
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Re: $550 book

Postby Andrew Pinard » September 10th, 2014, 12:23 pm

I can't speak to the performance, as I did not see it. I stand by my assertion. If audience members don't understand what happened, they likely did not experience magic.

I'm very familiar with multiple reality "interpretation" and included it heavily back when I designed my "An Evening with the Spirits" show (I love to have people experience my performances in different ways).

I don't know what the intent was of the performer (again, I did not see the performance), I merely made a statement commenting on the post. An ad hominem attack will not change my perspective (although seeing the performance might).

As I mentioned, I am interested in the book and, additionally, fully support the right of a producer to price a product any way they please...

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NCMarsh
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Re: $550 book

Postby NCMarsh » September 10th, 2014, 12:42 pm

Andrew,

The audience members understood the effect clearly.



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Re: $550 book

Postby Roger M. » September 10th, 2014, 1:08 pm

Sorry Andrew, I presumed you had actually seen the video before you commented on it.

My mistake.

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mrgoat
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Re: $550 book

Postby mrgoat » September 10th, 2014, 2:29 pm

Andrew Pinard wrote:I can't speak to the performance, as I did not see it. So everything else I put in this post is totally pointless


Fixed your typo.

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Re: $550 book

Postby Chris Philpott » September 10th, 2014, 2:46 pm

Thanks for the kind comments, erdnasephile, Richard, Roger and everyone else.

Richard, it was not an easy decision to release the book now -- I felt it was either that or publish it in several years by which time I think it would be too late. I've already received dozens of emails saying "you could use this method with a drawing duplication", or an ACAAN or to have people learn other languages, all of which I'd already come up with. Maybe I've accomplished the opposite of what I've intended and I've just screwed myself of future sales due to piracy (I sure hope you're wrong about that!) I've already lost a lot of sales to torrents and Ali Baba (my wife's a lawyer and has been doing a decent job and getting them to take it down -- for a few weeks at a time anyway). As I’ve said, I try to go out of my way to give my customers more than they expect and I’m hoping they’ll be decent in return.

Roger, thanks for the kind words about the David and Leeman clip! I really thought they did a great job of it. I was at the taping and we chose to tip everything to the director and director of photography – one of the weird things about this illusion is that a camera sees the faraway words even when quite close, so I gently pushed the director to include an over the shoulder shot of Howie reading the word (I’m a director myself so am pretty comfortable around sets). The director didn’t want a camera on stage the whole time but then came up with the idea of having the boys call out a camera almost like they were taking over the show – to me it’s one of the highlights of the routine. It’s not super clear from the way they cut the clip, but they did get a standing ovation from the 3000 people in the audience of the Dolby Theater.

The camera quirk makes this practical on large stages with giant projection screens or even one-on-one: you borrow someone’s cellphone and film them trying to read a word which is plainly legible when the footage is played back. I’ve done this many times at parties – I ask people to step back a bit (5 feet is sufficient) “so you don’t hear the induction”, (but then I let them hear it anyway). Then as I launch into the routine I turn to the observers and say, “You’ll want to film this.” Out come the cell phones. As I’m doing the effect, I reach over and take a cell phone and film over the participants shoulder. I’ve had people watch the footage over and over, completely stunned, and I know they then show it to others at the party because all night long people come up to me and ask me to take away their ability to read.

I have been overwhelmed by the reception to the original DVD. The effect has entered the repertoire of professionals and hobbyists and been performed on television around the world. And the critical reception has been great as well. As you know, I don’t post often on this forum, so not sure if this is cool, but I hope you’ll forgive me if I try to balance some of the comments above made by people don’t seem to be familiar with the 100th Monkey DVD with some comments by the people who are:

"The 100th Monkey is not just a method; it's an adventure! You're going to want to run with these simian secrets." - Max Maven

“To the jaded of us who say ‘it’s all been done,’ or ‘there are no new effects or methods,’ tell that to Chris Philpott… It’s freaking weird. And beautiful…. As versatile as it is amazing.”
-Francis Menotti, Magic Magazine

“Trailblazing routines. Original methodologies for curious hobbyists and professional performers.” –Danny Orleans, Genii Magazine

98% from Craig and 97% from Dave on Wizard Product Review. “I love this! I’ll just stick this straight in my parlor show. A brand new principle!” – David Penn

"Revolutionary ideas that soon will be the standard for all mentalists …. Worthy of being seen on TV and still be believable!"
- Joe Monti, National TV Producer (Criss Angel's Mindfreak)

“To say that I'm impressed is an understatement! This is something I will carry with me personally everywhere I go. The secondary DVD also includes a staggering amount of additional files which open up limitless possibilities for magicians, mentalists and hypnotists alike. Words simply do not do this justice.”
-Michael Murray

“Ingenious and innovative... It's not often that some new and useful principle is brought to mentalists, but Chris Philpott has done just that. Highly recommended.”
-Jheff

Five stars! “They say everything new is old. Such is not the case with Chris Philpott’s The 100th Monkey! This is one of those times I wish I could toss my moral compass out the window and just tell you this product is crap… just so I can keep it to myself.”
–Bryce Kuhlman, My Lovely Assistant

“BRILLIANT!! No hype... No BS.... Everyone we have shown it to is blown away. Thank you for producing something that is really worth more than the asking price. WE LOVE THIS THING!!”
-Paul Gross

"I loved it immediately and see how this can easily be presented effectively for almost any size audience."
-Bob Cassidy.

“This is just ridiculously good. I got it expecting to find it interesting and possibly useful. I was not expecting to be wholly blown away by it, which I was. What I wasn't prepared for was how well-executed they are, and the amount of work that Chris obviously put into them, on many levels, to make them as effective as possible. It's rare that I get this excited about a new mentalism item, but this absolutely warrants it.”
-Joshua Quinn

“Excellent, top of the line stuff from a master… this is the sort of thing that other performers buy the rights to in order to keep to themselves.”
-Atlas Brookings

There are a lot more like that on my website. Again, I hope it’s cool to post this. I just want to establish that the effects on the DVD are strong, practical and a big step forward from anything done with the methods mentioned above and I hope people will find the effects in the book every bit as original, practical and powerful. Thank you.

-Chris
http://www.magicaonline.com
Chris Philpott

www.magicaonline.com

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Andrew Pinard
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Re: $550 book

Postby Andrew Pinard » September 10th, 2014, 4:44 pm

Roger M. wrote:Sorry Andrew, I presumed you had actually seen the video before you commented on it. My mistake.


No problem, I responded solely to the one line of yours that I quoted. Having now seen the video, I can say that, while I stand by (once again) the response to your sentence, I get why you wrote what you did. I just can't think of any other example (in magic) where your statement would apply. That is a good thing as it certainly puts the effect in a rare class.

As to one other comment on my post, I'm not sure how it contributes to the thread other than reinforce a negative opinion some may have of the poster (not me, I'm still chuckling over it).

I did watch the video (thanks Nathan, but I found it at Murphy's website first) and found it to be entertaining, engaging, and novel. The performers were polished and pleasant. The effect was strong and clear to the audience and the hosts. It is the type of thing I might want to add to my act if it weren't at the risk of soon being ubiquitous (a shame, as it is a cool piece of perceptual trickery).

The effect truly benefited from the side camera shots.

What I really appreciate though, is Chris chiming in, providing a wonderful insight into the process and being a gentleman about it.

Kudos!

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AJM
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Re: $550 book

Postby AJM » September 10th, 2014, 5:24 pm

I've spent the last five years independently developing a massive collection of artwork and gimmicks using this clever principle although have not yet managed to complete the accompanying book.

And now this...
Corner-person Begrudger

Max Maven
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Re: $550 book

Postby Max Maven » September 11th, 2014, 7:32 am

Coincidentally, Marlo described his own massive collection of distance illusions in an unpublished 1956 letter to Neal Elias.

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Q. Kumber
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Re: $550 book

Postby Q. Kumber » September 11th, 2014, 8:23 am

Max Maven wrote:Coincidentally, Marlo described his own massive collection of distance illusions in an unpublished 1956 letter to Neal Elias.


Trust Max to drop a bombshell! :D

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Re: $550 book

Postby Chris Philpott » September 11th, 2014, 8:04 pm

Thank you, Roger.

I feel for you, AJM. Hopefully not all is lost.

How intriguing, Max... I'd love to get my hands on that collection!
Chris Philpott

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Re: $550 book

Postby Ted M » September 11th, 2014, 10:34 pm

I thought Max was following AJM's joke with a joke of his own...


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