Mind magic is arguably the only thing in the field of magic that can convince the audience that magicians have superpowers. In terms of effect, it is divided into mind reading, prophecy, perspective, mind control, and so on. During this time when I was learning mind magic, I also have some of my own experiences and experiences, which I would like to share with you here.

The earliest book I came into contact with, "13 steps to mentalism", started with Bug riter that I bought in TM, and it was a very boring book, thick and large, and all in English. As will be said later, I will not mention it here. What really got me started was Steve Banachek's Psychological Subtleties.

There are a lot of pure soul tips mentioned in it, such as the audience thinks of an animal, you know, the audience wants a color, you know, the audience thinks of a plant, you know, the audience thinks of a piece of furniture, you know...... Some hinting techniques, Force as well as Cold Reading, some very creative principles. Very good, but not easy to master.

I think mind magic is more about the ability to perform. You have to have a strong aura, the ability to create an atmosphere, the refinement of lines, and even your every body movement, etc., which are needed and worthy of your repeated consideration and improvement in each performance, and accumulate experience.

No one trick can guarantee absolute success, you need a lot of tricks to add up. Not only do you have to make sure that you succeed, you also have to make sure that the audience doesn't fall asleep bored in the process, after all, some effects are chronic. Derren Bron says in Pure Effect that Actting is everything. And I think that learning the mind well will also help you a lot in other performances.

Later, I had the pleasure of reading Luke Jermay's "3510" and "7 Deceptions", which also have a lot of anti-natural effects, such as erasing part of the audience's memory. Absolutely simple, using only one technique, but a great idea. However, it is difficult to control, which means that you are difficult to act, and the requirements for performance are high.

Others, such as hallucinating the audience to see their palmprints dancing, asking three random audience members to think of three different things, and then saying exactly a figure, a date, and a person's name. The principle comes from David Hoy's The Tossed-out Deck, and it's a very clever idea. The simple method, Tossed-out Deck must be familiar to everyone, yes, Liu Yiqian once performed in "Magic Miracle". This principle is widely used, and I really admire this group of great magicians.

And when it comes to The Tossed-out Deck, I have to mention The Bold and Subtle Miracles of Dr. Faust by David Hoy. Many of the processes in this book are very bold and very simple, and they are testing your acting ability.

Nefesch's PRR2 must be very familiar to many enthusiasts. That's right, just think of a card. His method, how to say it, some people think it's a cheat, that's because it also has high requirements for performance. All I can say is that the idea is brilliant and I personally admire it very much. One thing I want to say is that when you get a book, a teaching or a prop, you don't think it's cheating, how do you know it's cheaty if you don't perform? Or can't you control it? No matter how bad it is, there is something to be desired. This is the result of the rampant piracy now, which leads to disrespect for magic.

Okay, back to business, I don't know many versions of a card, and there's one that stands out to me as Ben Harris. All kinds of Force, all kinds of cold reading, Running is the essence of this Force method, and I really like to try it when I perform in my daily life. Of course, with Think Of A Card, you don't have to worry about failing in the performance, because you can make up for it by carrying a pair of Invisible Decks with you.

There are also some practical books for the mind, suitable for lovers who are new to the mind, such as Pablo Amira's "Amirism", which is very good, I like the sweet prophecy in it, the audience wants a fruit candy and then imagines that there is a wood and a sandwich, in fact, the prophecy has already been placed on the table. It is very practical, there is no possibility of mistakes, and it is very suitable for beginners. I also like to intersperse some practical minds with risky mind performances.

Finally, 13 steps by Tony Corinda. An encyclopedic book covering almost all areas of modern mind magic, as well as the transition to contemporary mind magic. It's very boring, I've only read the first bit, but it's definitely a must-read, and there's no doubt about it, although some of the things in it are outdated. For newbies, many people recommend this book, I don't think so, because it will discourage you from studying. And "Mind, Myth and Magic", which is also too thick.

I don't remember who said that, for people with limited English proficiency, too thick means nothing. Beginners should probably read Pratical Mental Magic. That's just my personal thoughts.

As for teaching, well, I barely watched any teaching, Mello's Modern Mentalism is more practical, and Handy Prediction and Dark Art are my personal favorites. I've also seen Patrick Redford's Prevaricator, a purely psychological technique. Anyway, for the soul, I still think you should read books.

I still have a lot more to think about the mind. Because I've found that a lot of the effects can be presented in a spiritual way. For example, a simple card finding magic, a Biddle Trick, Sandich or even Invisible Plam you can wrap it up like that. Some old magic, wrap it up, rewrite the script (as for how to write it, I think Hao He's two main points will be a good reference), and make it your own. That's why I called the title Morning Flowers.

Finally, everyone shared one of their own processes. A re-enactment of a simple card trick - how to make the audience think that you are a psychic and that you are a superpower.

This is something that I came up with by chance, and it is inevitable. First of all, let's talk about the theme of this process - Micro Expression Reading. Yes, that's right. Songming's so-called micro-expression reading, or lie detector.

Before this magic trick, I usually add two magic tricks in front of it as a foreshadowing (and other similar ones, of course).

One. Let the audience hold a small object in their hand, turn their heads away from looking, and instantly say which hand it is. I usually do this effect three times, that is, I guess three times. The audience will be amazed more and more every time. After that, tell him that this is called micro-emoji reading. There are many ways to achieve this, pure mind, cold reading, and various forces. This effect has been described in many books, such as Steve Banachek's Psychological Subtleties. There is also teaching, "Prevaricator" by Patrick Redford. Not much to say.

Two. The second stage. At this time, the audience may be skeptical of micro-expression reading. At this stage, their doubts need to be dispelled. I'd go with the effect from Ayne Dobson's D40 – Sharpie. That's right, just use a few normal Sharpie pens in different colors. However, the performance method is different, specifically referring to Song Ming's performance of letting Xiao Ni throw the dice in "Open the Door". Ask the audience to think of a pen color, and then I hold it up one by one and ask the audience if it's what they think, ask them to answer "no" to all their questions, and suppress their expressions so that they don't get noticed by me. Then you can say openly that I read your micro-expressions and made a judgment through your micro-expressions. (The above two are just what I like and use a lot)

Three. By this time, the audience is completely convinced that you can really see him through subtle expressions. Get out your playing cards. That's what I called card magic at the beginning. What it is, I'm sure you've already guessed. That's right, Biddle Trick. Let the audience choose a card to put in, I personally like to let the audience think of a random card and then find it for everyone to show and then put it in (so that there is a more contemporary Feel, the audience will really think that he just thought of one). Cut a random card and ask the audience if it's this one, and the audience says no. And then you said okay, I remember your expression. Turn over the five cards and count them one by one, while asking the audience if this is it. The audience said no, but there was actually one that was.

。 Then OK, you can pretend in any way you like... And the point is that the ending is very O'Henry! You read the audience's mind, let him or her concentrate on it, and think about it slowly, until it's gone. Then only four cards are left in the show.