Mysteries of Magic 2 - Impossible Made Possible

in this program you will see professional magicians and performers who after years of practice are able to accomplish tricks and illusions which appear to be and are extremely dangerous please do not try these at home in this technological age television is the stage on which a magician placed with audience mastery of this medium is yet one more skill in his ever-changing repertoire magicians are after all the only people allowed to legitimately deceive to do it they have to be by necessity masters of many arts exploiting the public ignorant of constantly changing technology and applying it to the secret world of illusion has been going on for centuries magicians have ever contrived to make the impossible seem possible throughout the history of magic many scientific principles have been exploited by the pioneers of magic to entertain and mystify their audiences static electricity made safe enough to thrill but not to kill the destructive force of fire tamed by performance who acquired the secret knowledge of fireproofing themselves incense flash powder and dry ice even strange gases and narcotics have over the years permeated theaters employed by illusionists eager to create a magical atmosphere some of the greatest illusions ever seen in magic were constructed with a watchmakers precision in a time long before plastics carbon fiber and computer-aided design in most people's minds conjurer's are primarily entertainers but as illusion makers magicians have always been on the cutting edge of technology yesterday's magic is the science of today much the way alchemy became chemistry into modern science and the magic of today perhaps could be the science of tomorrow magicians have always tried to utilize new advances in scientific knowledge in their performances this included of course everything from early use of electricity electromagnetism radio and other micro electronics today the technology that early magicians used was known only to a few academics and scientists virtually unknown to the general public magicians skillfully adapted the technology so that its use was not perceivable even to experts the public's need to be mystified and terrified have always informed magic to this end magicians have frequently called upon knowledge of optics the conjurer of the carrier's thrill some of the most effective illusions still prove the old adage it's all done with smoke and mirrors knowledge of optical principles has been of tremendous value to magicians and this really began in the late 18th century the use of the magic lantern in a covert way invented a century earlier the magic lantern was the forerunner of the modern slide projector powered by flickering smoky oil lamp and projecting hand-painted glass slides it provided harmless parlor entertainment harmless until a magician invented a magic show called phantasmagoria now the phantasmagoria show which was really a fantastic multimedia ghost show that was first introduced into Europe in the early 1790s was presented in Vienna and Berlin and then eventually manifested itself in Paris at the time of the French Revolution was presented by a man called Etienne Gaspard robear our Belgian or Robertson as he became known and Robertson was a sort of Steven spielberger the phantasmagoria show if you like he created a fantastic show which took place the Coleman dekap you seen in the center of of Paris and he devised all kinds of wonderful devices the method that Robertson used in order to produce his ghosts was the Magic Lantern applied to back projection hidden from public view Robertson would project multi-layered lantern slides that showed well-known figures of the day ghosts fairy tales and fables some slides gave the appearance of movement fading dissolving and rotating these were then projected either onto the smoke from abrasion or onto a muslin screen to great effect in mid 18th century Europe there was a wave of public interest in all things occurred especially witchcraft secret societies and seances a failed German cafe owner saw a way to combine his knowledge of magic with some of the earliest special effects on record and at the same time entertain and terrify the public yoanne Schroepfer began to hold séances in his billiard room in Leipzig he quickly learned how to deceive his customers into thinking that he had the power to conjure up the spirits of their dead ancestors borrowing techniques used by ancient priests to make their initiate s'more susceptible trop fir first insisted that the participants fast for 24 hours before the seance he further confused their wee consensus with narcotic drinks and incense dramatic and frequent lighting changes would cause their pupils to constantly dilate so that normal vision became impossible temperature changes and loud sound effects intensified the already charged atmosphere troffer used are called mumbo-jumbo hieroglyphics and incantations - we the spell under the participants all of these elements were a sophisticated form of misdirection distracting the audience from his real methods hidden in the darkness was a magic lantern ready to project a likeness of the dead ancestor and as they stood in a magic circle they felt tingling sensation in the soles of their feet this was very much of a multi-sensory experience one experience overlapping on top of another it was optical aural tactile and very very strange indeed and as they stood and listened they could fancy they heard strange voices a huge crashing thunder and lightning sounds and finally all of the lights would be extinguished there they would be in pitch darkness the only light coming from a brazier in the corner of the room a column of incense rose from that brazier and there in the center they would see an apparition hearted sometimes they would be so terrified he would just scream and run from the room Tropper was using all manner of props such as narcotics even electric shocks at the tingling sensation no fell through the soles of their feet in fact it was quite a psychological experience in a way a mixture of sensory deprivation Auto suggestion and the actual mumbo-jumbo of the whole thing despite the popularity of phantasmagoria an advancement in technology in 1862 supplanted it with the most famous optical illusion of all Pepper's Ghost invented by a Liverpool engineer the effect was refined by dr. John Henry pepper a professor of chemistry premiered in London in 1862 it was an immediate sensation originally designed for use in the legitimate theater as a way of producing ghostly manifestations on stage magicians immediately saw its possibilities for a whole new generation of illusions the science behind Pepper's Ghost relies on the same principle - what happens when you stand in a brightly lit room at night looking at the window your reflection appears to be at a distance beyond the glass equal to that between you and the window a spectacular magical application of this simple optical principle amazed Paris in the 1890s at the Cabaret daniil or tavern of the dead invited into the Hall of specters by the road and hoodie proprietor the visitors would be offered a drink of strychnine cholera or pestilence really beer vermouth or absinthe having consumed their poison guests were led through subterranean passages to the room of disintegration welcome we're going to the room of death you have at last at the place we ought to leave your songs behind confronted by a beautiful girl they watched in horror as she slowly transformed into a skeleton what the mystified visitors did not see was the hidden sheet of plate glass and a full-size skeleton sets an angle to the girl nor did they notice the knighting change as the hidden spotlight was shown on to the skeletal figure Pepper's Ghost eventually fell into disuse though in magic many modern illusions still rely on the same principle today one of the most spectacular applications of professor Pepper's illusion is in the haunted ballroom the Disneyland the stage looks empty except for three big Sheen's of plate-glass but it isn't three big sheets of glass the middle one is a mirror this is just a reflection of this you've heard the expression it's all done with mirrors well in this case it really is we're right back here what do you have to do to get someone's attention modern magicians have been quick to rework and develop new magic illusions based on old optical principles once again we come full circle to the simplicity of smoke and mirrors when I was visioning what the future of magic would be or bring it was about light manipulating intangible light so I started playing with different lights conjuring lights as if an ancient shaman or a shaman in the future would conjure fire and transform it into light it was kind of an evolution piece from the ancient tribal magic fires way into the distant future appearing to defy gravity is the basis of many magic illusions none more famous than the legendary Indian road trip this way ladies and gentlemen and see how the hand is quicker than the eye the magical mysteries and secrets of indian street performers have long fascinated magicians everywhere no review of oriental conjuring pics would be complete without including the ever present state charm how do they do it who knows maybe a tippet ism or maybe the snakes react to the sound of the flute anyhow it's a grand joke the origins of the Indian rope trick are shrouded in mystery with many variations on a similar theme variations that continue to puzzle magicians today basically the Indian rope trick was that the fact he would throw the rope up in the air little boy every time the robit vanish at the top the rope would fall to the ground that it Lord beyond that was the basis of the whole thing but the Rope trick may have its roots in another part of the mysterious East one of the best descriptions of the Indian rope trick is that of even Butantan in the 14th century he saw it apparently in China but I don't think we can claim that he was a very good witness because he admits in this account that whenever he saw Magic performed he felt faint and therefore I think we can say that the description like so many of the others is clothed in fiction the reason this particular trick has always been thought of as Indian may come from a later but no less far-fetched account dating from the early 17th century it was the age of the famous quote magicians of the great mogul Emperor Jahangir the idea of ascending to heaven is a common theme in many religions there is this notion of the rope that goes from this plane of existence to a higher plane so ascension moving up into the higher level the higher plane of existence I suspect that that's what the delusion is all about and that's why it's been around so long because it does speak to our desire to transcend ourselves magicians have long exploited the road trick in their publicity material but the fact remains that there are no reliable witnesses who can honestly claim they have ever seen the trick performed it's always been my nanny's cousins aunt had a cousin who had a brother who somewhere along the line was in the Indian Army and saw the Indian rope trick you can never ever get a guy who said I saw the Indian rope trick some people who have claimed to have seen it have seen what they would assume was a partial version of it in which a boy they say climbed up a rope in this we can see a well-known pole balancing effect in which a boy climbs up a pole and balances on top my own feeling is that that's where their beliefs have started but none can claim to have seen it in its full version one authentic version of the trick can be successfully performed but only if it's outdoors at night surrounded by trees and lit only by a flickering firelight the performance relies heavily on darkness the boys acrobatic agility and the magician skills of persuasion through the power of suggestions you can make people see things feel things experience things that aren't actually happening a good magician that is very good with neuro linguistic programming or hypnotic induction can create the experience that an elephant vanishes on stage by suggesting it by creating mental pictures that are triggered by words and sound as the boys grounded up the road the magician threw incense or even hashish into the fire and torches creating clouds of hypnotic smoke hidden by these swirling clouds the boy quickly walked to safety along a hidden tightrope and then hid inside the magician's basket magic happens I think inside people's minds and so spellbinding an audience really is involving them in a mental image or series of images that become more and more real and important and powerful for them onlookers were certain they've seen the boy climb the rope and disappear so when the magician produced him from the basket they believed they'd witnessed impossible highly exaggerated reports no doubt helped create the mythology that now surrounds the Indian real trick based on the research of those who have seriously studied the history and tradition of the Indian rope trick I'm convinced that it is overwhelmingly a combination of legend and folklore perhaps derived from performances by fakirs and street magicians in India doing much less ambitious feats of magic and talking about legends of an Indian rope trick but the feat itself to my knowledge has certainly only been performed by conventional illusion methods on stage by performers during the 20th century it has to be said from all the audience records that we have that trick onstage has not made much of an impression upon the audience but similar illusion is based on levitation and suspension were often copied and refined by Western magicians the technique of mystifying an audience by deliberately confusing their senses and baffling them with science was a speciality of the man called the father of modern magic Jean Eugene Robair who down in 1845 he swore a fantastique with a talk of Paris society but the finest magician of his day was not above combining real scientific principles with bogus pseudoscience one of his greatest illusions was his aerial suspension making someone appear to defy the laws of gravity robear who damn began by explaining that the new Wonder anesthetic ether had an undiscovered property it could make a person lighter than air as he talked a hidden assistant wafted the sleep inducing drug into the audience the magician would apparently drug his son with a bottle of ether in actual fact just water supported only by a rod under each arm the boy fell into a slumber the magician then began removing the only a plant means of support he next lifted his son's legs so that the boy was horizontal and then finally took away one of the supporting platforms the boy was now impossibly suspended and defying gravity the show always ended with this illusion and the curtain always fell to rapturous applause he had discovered that by presenting science in a magical context with a believable plot and powerful stage performance the gullible audience could be made to believe almost anything Robert hode on in addition to being the father of modern magic was a clock maker and watchmaker a prolific inventor and pioneered not only the design and creation of types of clocks but also the use of electricity and electromagnetism in the operation of clocks and other devices including scientific instruments one of the most interesting advances for which he won a man award was the invention of what's called the mystery clock the mystery clock is a clock with a transparent face but the observer would see the clock face the hands on the clock but no apparent visual connection between the hands on the clock that we're keeping time and any mechanism that might be concealed elsewhere in the structure of the clock or beneath it the base of the mystery clock did indeed hold the miniature clock works a metal rod transferred the movement to a circular bezel at the base of the glass column in actuality two glass tubes one inside the other the inside glass tube transferred the movement up to the face all the while rendered invisible by light refraction robear who Dan's reputation lies in his ingenious application of mechanics to the creation of complex magical illusions illusion designers who followed have kept his legacy alive to the present day the futuristic robots of the modern state show are the successors of antique machines no less sophisticated and just as baffling to the audience's for whom they were presented over a century ago before the technology available today had ever been dreamt of today the workings of many stage illusions are still closely guarded secrets back in 18-49 robber who danced masterpiece of mechanical magic was a puppet belly 34 inches tall called Antonio Diavolo the simple looking doll mystified all of Europe holding on to its secrets for more than a hundred and fifty years performing to a small audience on a specially built stage Antonia the trapeze artist would nod and bow to the crowd before beginning his act a routine of life like acrobatics Antonia was in fact a carefully weighted articulated automaton complex movements were caused by the motion of tiny Pistons and levers we can only speculate as to how we acquired momentum to rotate vertically and let go with his lands without any contact with the onstage magician at any time during his performance though created by Rob Ayer who Don Antonio is also the work of a machinist Carver and puppeteer his body is hollow a shell of layered fabric and glue his hands and legs are a finely carved wood and his head laborious Lee constructed a patia mache the method of materials of its construction may be known but the secret of his movement remains a magical mystery automata had been a very popular part of magical entertainment since the 18th century popular because they often appeared to interact with the public one of the most famous automata or pseudo automata is the chess-playing automaton of Wolfgang von Kempelen modeled on a Turkish figure and built in 1774 an Austrian Empress this life-size automaton traveled through Europe playing chess and defeating commoners and kings alike after a century long career he has recently been restored to full working order von Kempelen would would push out the chess player the machine itself and pull out a set of keys he would then open the left hand door exposing all of the machinery and take a lit candle around to the back and open the door there to show that there's nothing but machinery in there now again leaving all of the doors flapping in the breeze he would roll the hold machine around and show that the turk had a couple of small doors inside his back and in his legs and lifting up his robe again just exposed machinery then turn it all back around and lock it up and he's ready for the performance with lifelike movements unerring judgment and is expressionless face the chess player proved to be an intimidating opponent after alleged victories of a Napoleon Benjamin Franklin and Catherine the Great of Russia author Edgar Allan Poe became obsessed with uncovering the secret theories range from offstage assistants with remote control devices to electromagnets for the most popular speculation involved a hidden chess expert despite the fact that the cabinet appeared only large enough to contain the clockwork mechanism one of the biggest fictions that has arisen around it was actually perpetrated by no less than a robber who down in his memoirs he claimed that this automaton was made in order to conceal a legless Polish warrior this unfortunate man called Dvorsky had had his leg shattered with a cannon and that was a modus the chess player even exhibited a chess masters temperament growing impatient if an opponent took too long to make a move if an opponent dared to make an illegal move thinking that the automaton wouldn't know the chess player would take dramatic action even today the idea of an automaton and still entertain us we have got a major breakthrough in magic technology we have built a perfect audio-animatronic figure of teller now the real teller is operating the figure from right over there yeah even when you know how this trick is done it's still pretty powerful look at this it looks like Teller but it's not it's a different kind of dummy and any trick is possible watch this just just want to rip out his hair I just rip out his hair no bombing no special effects I just pull it out and then someone will put it in again backstage with this dummy everything is easy no special effect on this I want to hit them I just hit them nice flinch teller nice flinch now the next model will walk around but balance is still a pretty big problem right now so all the tricks we're doing right away have to be done lying down but I watch this we build it in go ahead tell hit it hi folks how are you enjoying the show we're not gonna use it but anyways okay hi here's just a simple trick you haven't seen before this is a pretty nice one I tell her do the do the do the tongue thing there we go now if you didn't know that was a dummy I do I do I save this teller magicians have always been fascinated by the so-called Allied Arts Acts dating from a time when magicians performed at village fairs alongside daredevil circus performers some of the more obscure artists and their strange acts have long since disappeared usually for obvious reasons including the mouse eater the flaming sword swallower the stone eater whose stomach contents rumbled loudly and the young lady whose speciality was swallowing giant razor blades in the 17th century one popular speciality out was the spouter who could regurgitate water beer or wine on demand in your IG alley Ali was a truly remarkable performer who was of Egyptian origin and became rather well known during the 1920's 1930's he was a regurgitation ax stand his act which I daresay few people tried to fully emulate consisted of him swallowing incredibly large quantities of water and by a remarkable degree of control over his abdominal muscles he was able to spout the water he had ingested a considerable distance across a room we but the most devastating thing he did which probably contributed to his illness that caused his death was that he would swallow a large quantity of water hello - pinata pinata and then drink a bottle of kerosene the kerosene would float in his stomach on top of the water he would first regurgitate the kerosene onto what looked like a small burning pyre and of course by spouting the kerosene the entire surface of this object would go up in flames after he had exhausted the kerosene he still had this large quantity of water in his stomach and he would spout the water to extinguish the flames he had produced ali's early death due to heart failure and bronchitis underlines the dangers associated with some of the Allied Arts but none is more dangerous than handling and breathing fire people think of fire as a part of the great mystery it has properties that can destroy us and certainly terrify us I think fire is a good symbol for the mystery for the magic for the unknown and it's only that we project on the fire properties that give it more power than perhaps it really has and historically I don't think we can find a time when when people were not in awe of fire the relationship of magicians with the mythical salamander can be traced back to the ancient legend of a fabled beast impervious to fire performers in recent centuries adopted the name salamander to encompass fire breathing fire handling and other feats of inflammable bravado one of the greatest exponents of Salomon during was Senora Ghiradelli billed as the fireproof female she amazed English audiences in the early 19th century with her apparent in combust ability the secret of our act was probably a knowledge of methods of physically hardening the skin techniques which have been known for thousands of years there are quite a few ways of fireproofing yourself the one I found which is also used in circus a lot there such as trapeze to harden your hands his own surgical spirit probably the oldest technique would be urinating on him because that is the best way to toughen up hands feet skin in general they still won't get used to the heat so although your hands will be more resistant more like elbow skin and it will still heat up there's not much you can do about that other than either hiding it on your face or moving out the fire some old recipes involve mixing substances that numb the skin to protect you from feeling pain while others protect you from actually getting burned in modern chemical terms the goal is to increase the heat capacity of the hand that means that you increase the hand or the body's capacity to absorb heat without getting burned you can think about it this way if you if you set your your home oven to a hundred Fahrenheit you can put your hand in that oven very easily without getting burned you won't be harmed at all it'll be pleasantly warm in fact but if you plunge your hand into boiling water then you'll get scalded and you'll get blisters what's the difference well the heat capacity of water is huge in comparison to the heat capacity of air the way to prevent getting damaged as opposed to feeling the pain is to put something between you and the heat in order to absorb that heat you don't become physically resistant to pain I find that if you've been doing it every day for a week you'll probably find yourself with a high resistance to if you do it seven times in one day that it seven times one day probably end up with blisters so it's a little over a long period of time and saying then you definitely build up resistance one of our more starting exploits was to handle molten lead they're almost certainly an amalgam of other metals with a melting point of 158 degrees Fahrenheit this is plenty hot enough to severely burn an inexperienced performer when you're pouring molten metal across your skin for example the danger is not the actual temperature of the metal you can handle very hot things as long as you keep them moving because as long as the metal is molten it's simply maintaining that temperature and it's not delivering an inordinately to your hand it's only when the metal solidifies if you think about it it takes heat to make a metal from solid to liquid and to go the opposite direction delivers that same amount of so when the metal freezes solidifies it dumps all of that we call it in chemistry the latent heat of fusion into your hand and that's what hurts firewalking as a ritual or magic trick is both Universal and ancient one of the most famous performers was Indian magician kuda bux who in this series of highly publicized fire walks in the 1930s subjected himself to scientific scrutiny in order to prove that there was no trick to his in combustibility he passed all tests and took his secret if he had won to the grave Bernardo Cooney but Douglas Elliman Allah Ibrahim over the years many people have attempted to unlock fire walking's dangerous secret scientists have searched for centuries to find a theory that can explain the phenomenon first of all I want to caution anybody who's watching the show not to simply build a fire in your backyard and attempt to walk across it I've walked across the fire thousands of times and in the early days I got burned quite a number of times I learned from my mistakes I've seen people horrifically burned walking through wood embers wood coals I've seen people receive third-degree burns which means that all the layers of flesh have been charred completely burned there are some quote unquote tricks involved but they're not tricks in a traditional sense like a magic trick that involves deception it's knowing a little bit about the properties of the fire what to do and what not to do if there's a trick it's knowing how to prepare the coal bed of so bad you're not going to injure yourself at temperatures well above 1,000 degrees Fahrenheit as hot as napalm the mystery of how fire Walker's escaped serious injury is not easily explained one theory the Leidenfrost effect shows how a water droplet can skip across a hot metal plate supported by a layer of its own vapor as it evaporates water vapor is a poor heat conductor creating an insulating barrier between the droplet and the hot plate but this does not explain how firewalking can be performed safely in arid conditions with dry feet another theory argues that red-hot coals are poor conductors of heat and during a brisk fire walk there is not enough time for the heat to be transferred to the feet this was proved by placing a raw steak on hot coals where it was not immediately seared firewalkers soon disproved the theory by walking on a hot steel skillet a surface that did sear the steak I have my own theory and it's never been put in print yet so I'm sharing it with the world for the first time today in my science class the teacher took a paper cup and he placed the paper cup on a flame and he boiled the water in the paper cup and to an eighth-grader this seemed like magic but it's not magic at all the reason that the water boils and that the cup doesn't burn is because the kindling point for the paper is higher than 212 degrees Fahrenheit now when that water boils at 212 degrees Fahrenheit the water does not get any hotter after it's in the flame for a longer period of time it turns into vapor but the water itself stays at 212 degrees so the water in contact with that paper prevents the paper from getting any hotter than 212 degrees Fahrenheit so of course the paper is not going to burn because it has to go beyond 212 degrees to Kindle to burst into flame when we put our foot into the coal bed the blood going through our bodies is very similar to the water in the paper cut that as long as we are emotionally prepared so that we are not interfering with the flow of this blood through the tissue the blood cools the tissue down it's not that our foot cools down the embers if you raise the temperature of your tissues to a certain point you're going to burn so obviously the people who don't burn are people who are not raising their flesh to a high enough temperature that they're going to injure themselves and the variable seems to be your state of mind because flesh is the same that the coals they're the same and yet in a group of a hundred people if there's two or three that are burned how do you explain that just using physical things like the Leyden frost idea or the conductivity theory the variable it would seem would be the person's state of mind not the physical setup like every new technology the discovery of electricity in the 19th century was immediately exploited by magicians eager to battle their audiences with new science the flickering neon of Las Vegas is a modern reminder of the first conjurer to see his name up in lights only Robin was a deadly rival of robber who down and open his own theater in Paris in 1862 a theater devoted to science magic and electricity on a stage crowded with the latest electrical devices such as room cough coils and Geissler tubes he played to packed audiences eager to witness the wonders of the electrical age and look at some of the few remaining Geissler tubes still in existence filled with their rare gases and photon driven wheels makes it easy to understand why audiences were captivated one of the strangest magicians to exploit the wonders of electricity was the self-styled dr. Wilfred bode a master of self publicity he advertised himself as the living miracle claiming unsurpassed knowledge of all things electrical in shocked British audiences during the early part of the 20th century his notoriety for so it became stemmed from his electrical equipment and the quack cures that he claimed to produce on stage he would invite our halt in the lane and it appeared to the audience that by subjecting them to his hypnotic effects which he called the body force of the boudic force they were cured my Lords my ladies and gentlemen Wilton's the handsomest room in town is proud to present for your edification tonight the pride of the north the electric wizard the modern miracle worker the famous bloodless surgeon the one the only Wofford Bodie nd bodis electrical act included his infamous electric chair in which he passed thousands of volts of electricity through a member of the public audiences were horrified but what they didn't know was that the static electricity though capable inflicting a nasty shock was not life-threatening to the audience this was quite amazing that anyone who would stand such a performance especially since the electric chair had been pioneered in the USA as a means of execution for criminals was a very topical point at the start of the 20th century the man in the street had relatively little knowledge of the properties of electricity few knew the properties of high frequency low amperage precisely what Bodie was exploiting Bodie knew that as long as the amperage is small the human body can withstand very high voltages armed with this secret knowledge Bodie was able to produce sparks like bulbs and ignite torches by touch alone there are a number of tricks and illusions in magic that were very popular and mysterious in the 19th century and early 20th century that have been made obsolete and anachronistic and rather uneffective or ineffective by breakthroughs and well-known scientific technology bodis career was virtually finished by the rise in popularity of the motion picture and the subsequent demise of the musical moving pictures relied on their own kind of magic the ability of the human eye and brain to make a series of fast-moving still images seem like they were in continuous motion and naturally it was a magician George Melly a who pioneered its popularity many of the films he made are simply a reworking of some of the live magic performances that were popularized in the 19th century by magicians like robear who done instead of using magical methods Mele a developed techniques of photography which to an uninitiated audience achieved the same magical effect what makes Mele as magic more astounding is that all of the trick photography was done in the camera without the benefit of modern computer animation or digital technology his technique became known as stop-motion photography and ultimately went on to form the basis of all film animation Meli a's technique relied on a fixed position camera which was stopped at the point when melee wanted the effect to occur the performer then froze into position and assistance brought on additional props and replaced playing cards when everything was in place the camera would be restarted when the finished film was projected the effect would appear to be a completely seamless one-shot magic trick at the end of the 20th century as filmed its way to television magicians are faced with a bewildering choice of technology with which to confound their audiences it may not be long before virtual reality magic where the audience becomes the magician is commonplace in this cynical and informed age there's a growing youth culture that suspects that all magic on stage or television is created with movie special effects for the time being though magicians still mystify and amaze with modern illusions and the time are a tricks of smoke and mirrors forever making the impossible seem possible

Channel: 770pratik

Views: 99,590

Rating: 4.6218486 out of 5

Keywords: Mysteries of Magic, part 2, Death Defying Feats, 1997, TV, Show, magic history, Television Show, magic

Id: lkxP0QIRPx8

Length: 52min 15sec (3135 seconds)

Published: Thu May 10 2012