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Costanzo Physiology Linda S. Costanzo
 PERFORMING
DECEPTION
LEARNING, SKILL
AND THE ART OF
CONJURING

BRIAN RAPPERT
PERFORMING DECEPTION
 Performing Deception

Learning, Skill and the Art of Conjuring

Brian Rappert
 https://www.openbookpublishers.com

© 2022 Brian Rappert

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0

International (CC BY-NC 4.0). This license allows you to share, copy, distribute and
transmit the text; to adapt the text for non-commercial purposes of the text providing
attribution is made to the authors (but not in any way that suggests that they endorse you
or your use of the work). Attribution should include the following information:

Brian Rappert, Performing Deception: Learning, Skill and the Art of Conjuring. Cambridge,
UK: Open Book Publishers, 2022, https://doi.org/10.11647/OBP.0295

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ISBN Paperback: 9781800646902

ISBN Hardback: 9781800646919
ISBN Digital (PDF): 9781800646926
ISBN Digital ebook (EPUB): 9781800646933
ISBN Digital ebook (AZW3): 9781800646940
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Digital ebook (HTML): 9781800646964
DOI: 10.11647/OBP.0295

Cover image: Follower of Michelangelo Merisi da Caravaggio, The Card Players (17th
century). Harvard Art Museums/Fogg Museum, Friends of the Fogg Art Museum Fund,
Photo ©President and Fellows of Harvard College, 1929.253, https://hvrd.art/o/231633.
Cover design by Anna Gatti
 Contents

Preface: Attention, Attention, Attention! vii

Transcription Notes xiii
1. A Kind of Magic 1
2. Self and Other 21
3. Control and Cooperation 47
4. Natural and Contrived 73
5. Proficiency and Inability 99
6. Truth and Deception 125
7. Control and Care 147
8. Learning and Unlearning 175
Index 191
Bibliography 195
 Preface:
Attention, Attention, Attention!

Crafting a preface is a delicate matter as they often seek to achieve

multiple aims. One is to entice. Prefaces can seek to convince readers
that what follows is interesting or important. In doing so, they aim to
direct readers’ attention.
The topic for this book—entertainment magic (or ‘modern
conjuring’)—is itself an activity of directing attention. Through hand
gestures, bodily movements, verbal patter and much more besides,
magicians endeavor to draw attention to some matters (a coin in
the right hand) whilst directing attention away from others (what
is happening in the left hand). The sense of wonder, bafflement and
surprise generated from what is perceived invites us to reconsider how
we come to understand the world.
In particular, I consider the forms of practical reasoning and embodied
skills associated with modern Western forms of entertainment magic.
Learning magic is, in itself, a form of self-directed attention. Learners
must understand how to comport themselves appropriately. More
than just a process of disciplining certain choreographed movements,
though, learning magic entails attending to others’ experiences. In this
sense, the simulations and dissimulations of magic can be approached
as acts of regard. In Performing Deception, the tensions and contradictions
associated with determining how to act through acknowledged trickery
serve as bases for reimagining how we interact together more generally.
Another common function of a preface is to explain the impetus for
a volume. As I came to appreciate, origin accounts are commonplace
in conjuring. In writing about their lives and work, magicians often
identify a key moment that spurred their initial curiosity. Childhood

© 2022 Brian Rappert, CC BY-NC 4.0 https://doi.org/10.11647/OBP.0295.09

viii Performing Deception

experiences of a relative performing a trick, for instance, would be a

typical origin story.
In this spirit, I will offer a backstory for Performing Deception. This
book has its origins in a public talk I attended in 2002. As part of a Café
Scientifique series designed to promote public interest in science, a local
pub in Nottingham hosted a seasoned magician who spoke about his
work to debunk psychics. He began by announcing that, right before
our very eyes, he would perform remarkable ‘feats of the mind’—the
bending of spoons with the slightest of touches, the reading of audience
members’ thoughts, the adding together of numbers faster than a
calculator, and so on. As these feats were done, he recounted how those
with malicious aims used such acts to prey on the gullible and vulnerable.
Once finished, the magician then meticulously revealed, one-by-one,
how each of the effects we witnessed had been accomplished.
The conclusion of these exposés seemed plain: no special powers
were necessary to undertake apparently extraordinary acts.
An intermission followed.
After the break, the speaker came back to disclose that, actually,
he had not accomplished the feats as suggested. He then went on to
meticulously show, one-by-one, how each had actually been done.
Without driving the point home in a manner that might make the
audience of academics, technical professionals and scientifically
inclined members of the public uncomfortable, the conclusion seemed
plain enough: anyone can be fooled, you included.
What stayed with me afterwards was not the explanation of the
effects. Instead, the lasting impression was the manner in which we
as the audience were moved from being spectators-turned-confidants
to shared (but still secret) truths, to instead being spectators-turned-
played-dupes. The effect of this performance on me was long-lasting
and generative.
Shortly after the talk a doubt crept into my head: had we, after all,
really been shown how the bending of spoons, the reading of minds and
so on had been done in the second act? Were, perhaps, the revelations
behind the revelations just another staging?
As I continued to reflect on the show, later details of the event came
to mind that made it difficult to square with the idea of full disclosure.
For instance, the performer announced the presence of a member of the
 Preface: Attention, Attention, Attention!  ix

Magic Circle, a society for magicians which I would later be accepted

into in 2021. Purportedly, this person was invited to ensure that the
secrets of the profession were not unduly disclosed. But had not quite
a bit been revealed to non-magicians about the methods of magic, even
if not everything that was said provided accurate explanations for the
specific feats undertaken that evening? Then again, though, was the
person singled out even from the Magic Circle? Was that suggestion,
too, just part of the act?
Once the doubting started, it proved difficult to halt. As I tried to
recall the events of that night, I became decidedly concerned about
the extent to which my memories embellished what had taken place.
But then, too, I began to appreciate that my efforts to establish what
had really happened were sidelining something of significance: my
reconstructions and questioning afterwards were part of building a
sense of the magic performed. In other words, the magic of that night
was still being worked in the days afterwards (and is still so today
in writing this preface). With this recognition, I resolved to take up
entertainment magic.
It would be 15 years, though, before this ambition would be realized.
Still another common function of prefaces is to forward meta-
instructions on how a book should be read. In the spirit of the previous
account of my origin story, I do not wish to suggest Performing Deception
offers the definitive, for-all-purposes analysis of how magic is learnt.
Instead, for me, the overall aim of this book is to promote a sense of
possibilities for acting in the world. Binds, conundrums and conflicting
demands with the undertaking of magic are identified to promote a
spirit of curiosity regarding how we meet our day-to-day experiences.
Prefaces also acknowledge limitations. In this book, I adopt a
particular orientation to limits: Performing Deception organizes its
argument around my efforts as a novice. In the roughly three-year time
span covered in this book, I came to offer regular face-to-face and online
magic shows, entered into professional magic societies and studied
under a highly renowned artist. Through recounting my step-by-step
development, I seek to attend to facets of learning that might have
become forgotten or may go unappreciated by seasoned hands.
The manner in which prefaces acknowledge limitations often goes
hand in hand with justifying the choices made about what was included
x Performing Deception

in the book. Here, I wish to do this, too, particularly relating to how

Performing Deception outlines some of the secret methods employed
in sleight of hand and recounts the full instructions for one particular
trick. Magicians are known for refraining from sharing their methods.
This book details many of the reasons for this reluctance. In seeking to
examine how the skills and reasoning associated with magic are learnt,
the bounds of what should be disclosed in this book have been recurring
concerns for me. I justify the inclusion of information on methods on two
bases. First, magic societies themselves allow for the sharing of secrets
in relation to research and education. The Magic Circle, for instance,
permits secrets to be published in books wholly devoted to the study of
magic. Perhaps more importantly, through the close investigation of a
practice, Performing Deception is intended to invite you into becoming a
student of an art form rather than only a spectator to it. Doing so requires
some familiarity with its fundamentals. Still, much has been left out by
way of detail. When specifics are given, they relate to beginner-level
methods and tricks that provide a base-level understanding of card
magic—this will enable you, as a reader, to appreciate the themes being
discussed.
Still another function of a preface is to express gratitude. While
Performing Deception recounts an individual process of development,
it—like magic itself—was not something accomplished alone. My initial
efforts to formulate an academic study of entertainment magic were
supported by Jonathan Allen, Wally Smith and Gustav Kuhn. I wish to
thank the late Harold Garfinkel in this regard as well. Not long after
the 2002 Café Scientifique talk, I had an opportunity to meet him and get
supportive feedback on my initial ideas when he visited the University
of Nottingham.
The research undertaken in this book was conducted at the University
of Exeter. I could hardly hope for a more supportive intellectual
environment to raise questions far beyond the scope of one discipline
than my department: the Department of Sociology, Philosophy and
Anthropology. Among those I am indebted to are Jonathan Barry,
Giorgia Ciampi, Adrian Currie, Tia DeNora, Abi Dymond, Jane Elliot,
Joel Krueger, Elis Jones, Sabina Leonelli, Georgina Lewis, Simone Long,
Laura Loveday, Charles Masquelier, Mike Michael, Iain Lang, Andrew
Pickering, Tom Roberts, Michael Schillmeier, Emily Selove, Ric Sims,
 Preface: Attention, Attention, Attention!  xi

Kirsten Walsh and Dana Wilson-Kovacs. My thanks as well to the Egenis

Research Exchange Group, the Cognition and Culture Reading Group,
as well as the Magic and Esotericism Group at Exeter. Most of all, my
thanks to Giovanna Colombetti for years of support.
A Visiting Fellowship at Linköping University in 2018 was hugely
helpful in my experimentations. My thanks in particular to Asta Cekaite,
Catelijne Coopmans, Claes-Fredrik Helgesson and Steve Woolgar.
Additional thanks as well to Malcolm Ashmore, Brian Balmer,
Melissa Barrett, Ann-Sophie Barwich, Kate Blackmore, Bryan Brown,
Michel Durinx, Stephen Fisher, Olga Restrepo Forero, Oliver Kearns,
Todd Landman, Trudi Learmouth, Eric Livingston, Susan Maret,
Catherine Moorwood, Simon Pattenden, Glen Roberts, Nik Taylor,
Emily Troscianko, Rachel Tyrrell, Elspeth Van Veeren, Kathleen Vogel,
Susanne Weber and James Wooldridge. A number of academic groups
supported the development of the ideas in this book, including SPIN
(Secrecy Power and Ignorance Network), the BSA Auto/Biography
Study Group as well as the University of the Third Age. The anonymous
reviewers organized through Open Book Publishers also provided
many useful comments.
As someone entering a long-standing performance tradition, my
development has been enabled by generations of conjurors that have
come before me. Today, novice and experienced magicians can turn to
the internet to access training instructions in a manner unthinkable a
generation ago. Of the many I have learned from online, my particular
thanks to Othmarius of Othmarius Magic for his considered instructions.
It has been a privilege to be a student of Dani DaOrtiz, first through a
masterclass in 2019 and then through his dD School. As a mark of his
commitment to sharing knowledge in magic, even before we knew each
other, Dani was open to me recording his masterclass.
The Magic Circle, Magic Circle Apprenticeship Network and the
Exonian Magical Society have served as nurturing groups for peer
instruction and support.
The Ashburton Arts Centre provided a wonderful venue for me to
develop as a public performer. My special thanks to Chris Willis and
Andy Williamson for providing me with this space.
With permission, segments in the book directly draw on or
present modified versions of text in Rappert, B. 2021. ‘“Pick a
xii Performing Deception

Card, Any Card”: Learning to Deceive and Conceal — with Care’

Secrecy and Society 2(2). doi:10.1177/1468794120965367 (CC BY 4.0
license); Rappert B. 2020. ‘Now You See it, Now You Don’t: Methods
for Perceiving Intersubjectivity’ Qualitative Research 22(1): 93–109.
doi:10.1177/1468794120965367 as well as Rappert, B. 2021. ‘Conjuring
Imposters’ In: Steve Woolgar, Else Vogel, David Moats, and Claes-
Fredrick Helgesson (Eds.) The Imposter as Social Theory Bristol: Bristol
University Press: 147–170. Chapter 2 includes instructions for a card
trick from Fulves, K. 1976. Self-Working Cards Tricks New York, NY:
Dover reproduced under ‘fair use’ (or ‘fair dealing’) provisions.
I would like to thank all of those that shared in undertaking magic
with me as part of my apprenticeship into the art of conjuring. Because,
after all, can there be magic without an audience? Or, for that matter, a
magician?
Finally, in directing attention this way rather than that, another
function of a preface is to bring to the fore some issues while deliberately
sidelining others. And so is the case here.
 Transcription Notes

To examine the finer details of the moment-by-moment unfolding of

interactions, I employ transcription conventions derived from the field of
Conversation Analysis. As Performing Deception is not primarily written
for students of conversation, though, I only make use of a limited range
of notational conventions and symbols intended to convey basic features
of verbal communication. These include:

Symbol Example
Underlying indicates points P1: Well, attention is being directed
of stress.
BR: By who?
P1: By you. Yeah, yeah.
Capital letters denote BR: I did it right here in the middle of the table.
increased volume. Was this your card?
P2: REALLY. REALLY. If you like played the
tape and that is what happened I won’t, I
would not be surprised.
Words in ((double ((Group laughter))
parentheses)) are my
glossing descriptions of
verbal or physical action. Not what you do here. ((spreads out an
imaginary deck in his hands))
Numbers within single P1: I was trying to think of other examples of
parentheses, such as (1.0), power (0.5) where risks are taken
indicate the approximate
time of the pause in seconds.
The symbol ‘(.)’ indicates P3: =you don’t want to be (.) disruptive.
a pause for a fraction of a
second where one would
not be expected, given the
grammatical construction of
the statement.
xiv Performing Deception

Symbol Example
Pairs of equal signs indicate:
(a) Either when two P2: Like you kind of, when he spins over the
individuals speak with no card you want it to be the right card=
intervening silence
P1: =So in that
(b) When the same P3: I know, I am like that as well, you know, I
individual continues a just, in fact I still don’t want to know how he
statement without pause, makes it because=
but that statement is
P1: Yeah
broken up by talk from
another individual, without P3: =it’s fun.
significant overlap in the
statements.
Overlapping talk between P4: Yes, and then this it sort of opened up the
two individuals is designated
P4: [possibility
by square brackets. The start
of an overlap is indicated by BR: [Yes, yes
‘[’ in two adjacent lines.

In addition to these conventions, symbols at the end of a statement

or line are not used to indicate the end of a sentence. Instead, periods
within lined numbered excerpts indicate a falling or final intonation.
A question mark indicates a rising intonation. The absence of either
indicates no intonational change.
In the transcribed excerpts, ‘P’ denotes a magic session participant’s
statement, and the number next to that indicates the order in which
that participant first spoke in the group. For instance, ‘P2’ indicates the
second participant that spoke in session. Any subsequent statement by
this person is likewise indicated by ‘P2’.
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