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Dafedas B Regular user 199 Posts |
Hi guys,
Here is one of my matrix. Probably the one I used the most. https://www.youtube.com/watch?t=9&v=SEr_77Xt5c4 Hope you enjoy. b |
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Zee Regular user Leonia, NJ 196 Posts |
Love it!!
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RatdeLabo New user France 89 Posts |
Yep, nice!
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arthur stead Inner circle When I played soccer, I hit 1773 Posts |
Very nice, Dafedas!
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Dafedas B Regular user 199 Posts |
Thx guys
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Michael Rubinstein V.I.P. 4665 Posts |
Ahh, the no pick up move. Glad someone is using it.
S.E.M. (The Sun, the Moon, and the Earth) is a sun and moon routine unlike any other. Limited to 100 sets, here is the promo:
https://youtu.be/aFuAWCNEuOI?si=ZdDUNV8lUPWvtOcL $325 ppd USA (Shipping extra outside of USA). If interested, shoot me an email for ordering information at rubinsteindvm@aol.com |
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tyler_rabbit Loyal user 286 Posts |
Superclean. Love it.
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Dafedas B Regular user 199 Posts |
Thx Chaps.
Indeed Michael, no "standard" pick up move ( pick up there is as you can see, but done in a more casual way, and covered by other move/effect retaining the spectator attention in a stronger way ). I remember studying one of your matrix from NYC Seminar where you wanted to avoid the pick up move, and decided to go in that direction as well, at least for this matrix. |
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Ray Haining Inner circle Hot Springs, AR 1907 Posts |
Isn't that a Paul Harris move?
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Dafedas B Regular user 199 Posts |
Ray: no idea. I've never learned any material from Paul Harris, but I'm sure other magicians came out with similar ideas. If I had to mention my influences in term of matrixes, I would say in order: Ogawa, Bertini, Lucero, Fujii, Mory, Rubinstein, and later on Ponta and Mott Sun. Indirectly Al Shneider of course. Probably a few other guys here and there checked on you tube. A big chunk of my work is spending time alone with the props and playing around to develop ideas, and then try them on lay people as much as possible to see what works.
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Ray Haining Inner circle Hot Springs, AR 1907 Posts |
I think the move is described in "The Magic of Paul Harris" by Jerry Mentzer, published in 1976, Chapter Two, "The Giant Killer Coin," although I don't know if the move is original with him. If it isn't, no one else is credited. He credits Al Schneider for Matrix, though.
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Dafedas B Regular user 199 Posts |
Thanks for the info. I always like to know more about the background of each move/ routine, as I have a very poor knowledge of magic literature/history.
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inaciolino Veteran user 369 Posts |
Insanely good. I'd love to have the skill that the coin guys demonstrate!!!
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esmerdon New user Knoxville, TN 54 Posts |
That was a very clean performance well done! You're making me want to become a coin guy
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Michael Rubinstein V.I.P. 4665 Posts |
Ray, I think you are talking about the Paul Harris steal. The no pick up move was published in the early 80's, and was developed to reveal the coin under the card by lifting the card and Not doing a pick up move. It really isn't a move, but a display action. Marlo also published a similar steal as Harris, using different fingers. I don't know who came up with the steal first.
S.E.M. (The Sun, the Moon, and the Earth) is a sun and moon routine unlike any other. Limited to 100 sets, here is the promo:
https://youtu.be/aFuAWCNEuOI?si=ZdDUNV8lUPWvtOcL $325 ppd USA (Shipping extra outside of USA). If interested, shoot me an email for ordering information at rubinsteindvm@aol.com |
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James927 Regular user Nor Cal 164 Posts |
So artistically smooth Dafedas - thank you for sharing. I feel such graceful hand movements can be powerful mental misdirection as well as beautiful, hypnotic. A quality I aspire to embrace in my magic.
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Dafedas B Regular user 199 Posts |
Thx guys.
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Uli Weigel Inner circle Berlin, Germany 1478 Posts |
Okay, I'll be the odd man out: I don't like this handling of Matrix. It's not a question of technique or "chops", you're clearly a skilled person. Maybe I'm terribly old school, but for my taste there's too much visual noise, too many moves and even card flourishes which only add more visual noise. I also find the initial laydown and steal somewhat confusing and suspicious.
From the spectator's perspective, Al Schneider's original Matrix has no moves at all. He simply places four coins on the table and covers them with four playing cards. From then on it's pure magic, or at least it can be perceived as such (right place, right time, right audience). There are not many versions, which are that clear, uncluttered and magical. The late Dean Dill was one of the rare exceptions, who understood, what Al Schneider tries to convey. Dill's Tonight Show Matrix is one of most beautiful Matrix routines I have ever seen, and it has all the qualities of Al Schneider's "no moves, just magic" philosophy. They say about Mozart's Piano sonatas, that they are too easy for the piano student and too difficult for the masters. In a way, I feel the same about Matrix. Does that make sense? |
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Dafedas B Regular user 199 Posts |
Hi Uli,
I totally understand your point which is not mistaken. I do use "standard" matrix as well, which is delightfully straight to the point and very direct magic for lay audiences. The point is knowing what to perform for who, when, and why in my opinion. I love to experiment with different things for my own fun, and to keep myself entertained, which is why I developed quite a few different matrixes variations. I believe 2 ways of artistic presentations can co exist: 1/ adjusting your material to lay audience to generate the strongest possible impact, which is the most conventional way. 2/ Leading the audience onto slightly unusual, different ground. I remember having a conversation with Bebel who was saying a very similar thing. This would definitely be type 2. Audience is drawn into aesthetically pleasing motions ending into visually pleasing effects. Probably less magical, but more artistic ( or trying to be ). Al Shneider himself told me he disliked this version, which I totally understand. Also, there is a substantial amount of subtleties that go into my facial expression and body movement which are not conveyed here. I purposely film my hands only which is a lot more unforgiving, but great to spot small imperfections, which become a source of motivation for skills/artistic development. + I'm sure you'll agree, they're would be no point in presenting the same original matrix here that everybody have seen a zillion times. When I post something here, I try to present material that is a bit different from classics, or original in some way. I would classify this area of my work as " artistic prestidigitation" or "progressive legerdemain" more than "pure magic" if that makes sense. |
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Dafedas B Regular user 199 Posts |
PS: I love the Mozart's anecdote, and I fully agree. I feel that he basic techniques/ routines are the hardest to do perfectly in a way ( retention, F drop, ramsay, gosh man P, shuttle P, etc ). It's true for many art forms.
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