By Joel A. Moskowitz, M.D

LA JOLLA, Calif.—It is a likely prediction that most magic enthusiasts can be made to
disappear when a bookseller would dare to produce an offering whose title would include the word "Theory".   Unsophisticated conjurers who chose to reject "Magic in Theory" are making a mistake.  On a recent visit to New York City, I chanced to come across a reference to this enchanting tome.

"An Introduction to the theoretical and psychological elements of
conjuring" by Peter Lamont and Richard Wiseman, University of
Hertfordshire Press, pp175, published in Great Britain 1999 is thankfully
still available.  I purchased mine from Barnes and Nobel in La Jolla (less
than $25.00).

So that the reader of this review have full exposure of any bias this
writer might have, I admit to some pride in finding that the authors
included two of my publications in their elite bibliography i.e.
Moskowitch, J. (sp Moskowitz, J.)
(n.d.) The Sorcerer's Apprentice, or the use of magic in the psychotherapy
of children." Magical Mask Press and also Moskowitz, J (1983) "Why are
there - Sorceresses, Witches, and Wonderous Women?" Genii, 47, 259.
I also have had the pleasure to review and praise author Peter Lamont's
"The Rise of the Indian Rope Trick".

Co-author Richard Wiseman, deemed a former professional magician who,
wearing his Chief of Research Psychology cape, is the author of another
compelling book "Guidelines for Extrasensory Perception Research" and also
"Guidelines for testing psychic claimants".   As a former Forensic
Psychiatrist, these too are appealing subjects.  The deceptions employed
by magicians, and pseudo-psychics, are intriguingly based upon
psychological sleight of mind.

The lay reader need not be put off by what may seem to be a work designed
for mental mystics who have three or more university degrees.  In
practice, the best conjurers are well aware of, and deftly utilize,
principles of psychology. Especially is an understanding of how humans
perceive necessary to deceive, confound, baffle and, hopefully, amuse
while amazing audiences.

Fear not, Lamont and Wiseman advise the inquiring reader that becoming
aware of the often-subtle principles magicians and mentalists utilize will
not cause you to no more be able to be deceived. Magicians have many
conjuring paths.  A curious non-magician who reads this book will still be
able to enjoy the thrill of surprise.  The authors hope to reveal that
even the keenest observers, including sage scientists, are vulnerable to
mystification.

The literature, with little agreement, reveals various attempts to
classify the types of magical effect. There are examples of making
something appear or disappear, move something or someone from one place to
another (including a person or an airplane); change an object from
something to something else (blue to red deck; duck to rabbit); cause the
penetration of a solid object (Harry Potter or Houdini walking through
walls); restore that which has seemed to be terminally divided (reunite
two halves of a woman).  Psychology plays a key role in all these
variants.

Even mental and physical tricks lean heavily on psychology. These would
include astonishing mental feats (humans who are able to calculate faster
than any machine) or impossible physical behaviors (sword swallowing)

The ability to influence an other's mind by trickery is strongly dependant
on an understanding on how people think.  Moving something by willing it
(Telekinesis) requires not a sixth sense but a psychological sense. Some
effects would have you believe that the seer can divine hidden objects
(Medium on TV) or by unknown powers compel you to think of a card or where
there is a mind waiting to be read, or announce what your inner thoughts
are, all are dependant on psychology.

Some believe that psychiatrists can read minds.  They cannot.  But they
may be able to interpret psychological clues and blended with a
familiarity with human behavior appear to be omniscient.  A favorite sign,
which adorned my office read, "Don't be afraid that I may read your mind.
I already have; and you should be ashamed of yourself!"

Purists whose creed is that magical secrets must never be revealed will, I
predict be upset that the authors describing maneuvers like the 'center
tear'. This technique enables the mentalist to retain the middle piece of
a piece of paper on which a question has been written.  He/she then
covertly reads the message and seems to 'know'.

Since it is my thesis that few active magicians will (although most
should) read this book, it is even more unlikely that the idle public
will.  Hence the 'secrets' are safe.  We can be confident in the truth of
the maxim, "If you want to hide something, publish it."

The essential value in this book is for example the analysis of how a
student of magic may approach the simple vanish of a coin. Dexterity may
seem key but that would be incorrect.  Knowledge of the nuances and
psychological ploys of misdirection convert an obvious dull poor example
of conjuring into masterful theater.

Lamont and Wiseman have asked/interviewed the experts.  They are able to
offer the thinking of some of the masters: names familiar to those who
revere fine magic, Ascanio, Ganson, Kurtz, Galloway, Ramsey, Vernon and
Hugard.  These are some of the best magical entertainers whose techniques,
envied by many, copied by some, convert a mere act into powerful illusion.
 The extensive bibliography in this book offers possible further
education.  Albeit some of the references may only be in the library of
magicians.

Perhaps, it should be stressed, the most important element in masking 'how
it is done' is the performers' own personality.  Mac King, a Las Vegas
Comedy Magician, is quoted as saying that if the audience is interested in
the magician, they will be less interested in how 'it' was done.  Juan
Tamariz stresses the likeability of the artist. If they like you, they
will want you to succeed.

Fritz Perl in an old psychiatric text, referred to a principle called
"Invitation to the dance".  In the field of psychotherapy, by various
verbal and non-verbal cues the psychiatrist invites the patient to
participate in a session of psychotherapy.  Each does their best to make
it work.  So it is with magicians and the spectators.  In successful
performances, a climate of participation is enjoined: the magician, as
Keller or Robert-Houdin said, must play the role of an actor playing a
magician.   The spectators must be willing to be amused and amazed.

A magician best must first convince himself.  Eugene Burger, Max Maven and
Robert Neale all agree there is some mental reluctance to produce an
effect at which others may marvel.  This self-sabotage detracts from the
wonder, which is the desired goal.  The authors by calling attention to
this pitfall enable the thoughtful magician to reflect, gain
self-awareness and build confidence and avoid calamity.

As I have written (vide supra), certain personality types have a need to
'figure it out'.   Some are threatened by not knowing 'how'.  Some feel
resentment at being 'fooled'.  Many lack the confidence of allowing
oneself to, for a time, believe the unbelievable.  Don't we all enjoy the
theater more when we allow ourselves to be absorbed in the play instead of
scoffing that we are simply in a large room and the figures on the stage
are just 'actors'.

Lamont and Wiseman write extensively and lucidly about the psychological
defense "Reconstruction" (Not truly a valid psychological term).  How the
spectator thinks, analyzes, interprets, deciphers, explains, understands,
that which the magician has done may substantially alter the enjoyment of
the trick.  A seasoned performer is alert to the need to vary the method
to further "cloud men's' minds".

To the extent the performer is familiar with the psychological aspects of
magic, both the wizard and the audience will have an enhanced appreciation
of the conjurer's art

Although Lamont and Wiseman humbly entitle this very worthwhile book as an
"introduction to the theoretical and psychological elements of conjuring",
they are being too modest.  It is lucid, relevant, and worthy of study by
anyone who would hope to entertain others with magic.
The mechanism of the trick alone is a lifeless bit of information.  The
pleasure of performing miracles is only in part finger dexterity
(prestidigitation).  It is the mutual experience of playing at wonderful
extraordinary events where the performer is truly an actor and the
audience freely revels in the glee of being surprised that is the acme of
conjuring pleasure.   Buy this book to help you make this happen.