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Andy Moss Special user 761 Posts 
With respect to the last cleudo themed effect.There is a more efficient way of having them mentally add up to the required even grand total.
Just two dice have to be mentally rolled if we use the dice 'Seven principle'. In other words we have them roll their first die "to any odd value". We then have them roll a second imagined die. "let's make this second die have an even value to make things as varied as possible". Now if we have them mentally turn over their second die to "add on to your combined dice total whatever value is on the bottom of your second die". Of course opposites add up to seven on any die.(6/1 5/2 4/3). Seven is odd. Thus grand the total of all three mentally visualised die numbers will always be even. 

Andy Moss Special user 761 Posts 
For those of you who wish to explore more deeply many of the principles employed in this thread I would steer you towards a book called 'Bob Hummer's Collected Secrets'. Written by Karl Fulves. Martin Gardner provides the foreword.
In Bob Hummer's effect 'The Snappy thirteen cent Trick' (p.15) parity is employed in a very clever way. Enhance the effect through the use of the mental die ploy ("For variety make one of the die values odd and the other even") Then there will be no need for the spectator to snap their fingers every time they turn a coin over. Look back at the simple colour parity effect in this very thread to get a clue as to what methodology might be employed to ascertain the information.... Another effect (p.33) that employs parity is the effect 'Politicians Puzzle'. We could of course ascertain any dualistic information such as the biological gender of a person merely being thought off ("male" and "female" being the words used for the moves) or whether they are merely visualising the colour blue or orange. ("blue" and "orange" being the words used for the moves). In the 'mom/pop' variation (p.34) where three diagonally adjacent pairs of checker pieces are laid out randomly on the chess board at the start with their positions unknown to us. Perhaps have a spectator secretly take a chess king piece. Either a black or a white piece. You do not know which. Yet you are able to successfully ascertain which one they have.The words used for the alternate moves are naturally "Black" and "White". There is also an effect within the book called 'The Poker Chip Mystery Miracle' (or a title similar) which uses six poker chips with numbers on both sides. 'The Snappy Thirteen Cent Trick' would work well as a first phase of a routine where the poker chip effect was the second phase. We need six white poker chips and two red poker chips. All have numbers on both sides. I will leave it to you as to how this might work.... Hope all this gives you food for thought! 

Andy Moss Special user 761 Posts 
Another ploy for subtly forcing an odd number for effects that use parity would be for the spectator to "think of any prime number".
You will find that 2 is never for some reason associated in the lay person's mind as being a prime number. The rest of the prime numbers will be odd. You will find that if you limit the range (reasonably in the context of the situation) to "any prime number up to about thirty" that 3, 7, 11, 13 or 23 will almost invariably be thought of. With specfic reference to the 'Snappy thirteen cent trick'the most efficient means of achieving this effect would be to use the following methodology. Note that we do not even have to include any turning over of the objects in the following methodology. So no visualised odd/even dice or thought of prime number is necessary. Use three white and two red wooden checker/draught pieces. Scratch or edge mark all five pieces for their orientation. Make the markings very subtle so that all the pieces can be examined. Simply have a spectator take the five checker pieces out of a velvet bag and place them in a row. We simply note how many pieces have markings face up side and remember this value as odd or even. We the turn our back and state to the spectator that since we know the order of the colours in the row that they ought to "slide the pieces about to change the order of the colours in the row". Note that this seems to be creating chaos but does not change the orientation of the pieces and so this is a red herring. We then bring their attention to a dry wipe pen. Have the spectator mentally think of either the white or the red checker pieces. We then ask then to "Please put a small cross on the front of either the white or the red checkers with the pen....it is your choice". This they do. We then say to the spectator...."O.K now turn the checkers that you have put a cross on face down to hide everything." Note that in doing so we have VERY SUBTLY changed the orientation of a particular chosen colour. We can now turn our backs around again to face the spectator. We simply note whether there is now an odd or even amount of checkers with edge markings to the face. Odd and odd equals even Odd and even equals odd Even and even equals even. If therefore our new value is even this must mean the pen crosses are under the red checkers which by extention must be the colour that the spectator is thinking of. Contrastly if our new value is now odd this points towards white. Rather than checkers we might use any objects. Just as long as both sides of the objects in question seem absolutely identical to the eye. 

Andy Moss Special user 761 Posts 
Coming back to the Hummer Mathematical principle I am aware that finer minds than mine have been thinking around the basic principle. Patrick Redford deserves mention. More recently we have had the 'Greenneck Principle' which I imagine too builds upon the basic Hummer/Gardner foundation? The following thoughts come to mind with respect to the basic three object divination.
Firstly if we can influence a spectator to place three objects in a particular order from the oft (when our back is turned) then it will be of huge advantage for us. This is possible if we employ a skilful patter. For example with cutlery we might say.... You have a pile of cutlery in front of you. A knife, fork and a spoon. Please place the knife......(note the hesitation here) the folk and the spoon in a row from left to right on the table in front of you". Then only after they have indicated that they have done this go on to say...... "Obviously my back is turned so I can not see what you are doing". Now if we phrase it in this way we will naturally find that almost invariably the spectator will subconsciously follow our words in the order that we have spoken them and the starting order from left to right of the three objects will be Knife, Fork, Spoon. By the end of the effect we will be able to successfully plant the lie that they placed the three pieces of cutlery in a random order on the table at the start whilst we were not looking. Having a spectator place randomly and secretly chosen playing cards "in an ascending order" at the oft will also serve us very well! Now we may move on to employ cyclical swaps (think Martin Gardner and psychic rock paper and scissors) to our advantage........ 

Andy Moss Special user 761 Posts 
We may also use colour to our advantage. Three colour cards.
Yellow, grey, mid blue. "I am going to turn my back now. Will you please mix up the colour cards and place them face up in front of you on the table." "Please visualise the colours in front of you...Now place whatever you feel is for you subjectively speaking the most energetic colour of the three and push it forward from the other two.....Now please take whatever of the colours remaining that feels to you to have the least energy and place it to the right of your first chosen colour in the row........Now please place whatever colour remains left in the middle between the other two colours in the row" "O.K there should now be a random row of colours in front of you.My back has been turned throughout." The result? Yellow, blue, grey. 

Andy Moss Special user 761 Posts 
Or perhaps use three carefully selected tarot cards (such as The Tower, Knight of Pentacles, Ten of Cups). Ideally force these cards on the spectator from the top of a full tarot deck after undertaking false ladder cuts.
Then ask the spectator to "select the card that gives you the most positive vibes"..........then "the most negative vibes".The one left (in our example the Knight of Pentacles) goes in between the other two. Or even better three carefully selected antique looking Edwardian photographs. "Select the person who you feel in your inner heart seems to be the most happy to you.."..........then "the most unsettled of heart"..... We could even use the perceived weight of the objects in play. No need now to make our peek for a marked card among the three. Also why use standard playing cards when we can make things much more interesting! 

Andy Moss Special user 761 Posts 
One way of making things more interesting would be to use three spectators as the variables.Choose two male and make the third a younger female. The female voice will thus be easily discernable from the other two voices. The female is our marked variable so to speak. All done in the open in a very subtle way.
You hand three identical empty envelopes to the female spectator along with one golden ticket. At this point you turn your back to your volunteers and step forward towards the front of the stage. You have one of the two male spectators place a blindfold tightly around you and to return back to the others. You bring attention to three positions marked on the stage. One central,the other two towards the two wings of the stage well spaced out. You are standing so that you are in front of the central position. Then have the female place the golden ticket in ANY one of the envelopes before distributing the three envelopes RANDOMLY between the three of them. You then ask the three spectators to RANDOMLY stand in the three positions on the stage. The female is asked to affirm when all the above has been completed. You then simply note the starting position of the female acoustically. Is her voice coming from your left or your right or directly behind you? You emphasise how there is no way that you could know anything about anything. Then you ask the two spectators who do not possess the golden ticket to swap places SILENTLY. You ask the female to confirm when this has been done. You then simply note the new position of the female acoustically as before. We could then have guided swaps as follows. L and R R and M M and L M and R. This seems to mix things up but actually does nothing to the order of the spectators. We might even throw the audience off even more by then making an extra guided swap and simply reversing this particular swap mentally in our mind at the reveal. This would ensure chaotic looking end positions for the three spectators. We can then divine who has the golden ticket through the basic use of Hummer's mathematical principle. 

Andy Moss Special user 761 Posts 
Let us now develop upon the above idea a little. By using the female voice as an acoustically marked vaiable we are able to ascertain the identity of the target. However we were not able to know the identity of all three pieces of data/variables.
Earlier on in the thread I mentioned in passing Martin Gardner's use of cyclical order amongst data in a line up. Let us now put this to good use. We have our three carefully chosen volunteers. John, Doug and Charlotte. We note before we turn our back on them how they have freely chosen to line themselves up remembering the order in our heads as C,D,J (I will put the names in alphabetical order for clarity). We now instruct any two of the volunteers to change places "to make the order truly random...do this when my back is turned....Charlotte will you please call out to me to confirm once this has been done please." Say Doug and John swap places in the lineup. The new situation will therefore be C,J,D Now we hear Charlotte call out and know from the direction of her voice that she is still residing on the left of the lineup. We also know that if we swap any two variables amongst three in a lineup that this merely serves to reverse the order cyclically. Thus since we know where Charlotte is in the lineup we now inherently know that the order must now be in the reverse order of C to D to J presenting as C,J,D in front of us. I will not provide any further examples but you can experiment with the principle and you will readily see how we will always be able to ascertain the identity of the target as well as the identity of all three data variables in every instance. 

Andy Moss Special user 761 Posts 
Note that if we want to get the target identity that a second swap will of course be required but we are now ahead of the game knowing the line up order before the non target swap.


Andy Moss Special user 761 Posts 
The above methodology seems ideal for a murder mystery themed presentation.
All we have to do now is to have Charlotte confirm when the second swap (the Hummer swap) has taken place as per normal. We once again note where her voice is originating from. From this information we now know everything there is to know. So in summary despite having had our back turned to the volunteers and despite having even been blindfolded from the start we are now able to divine the positions and names of the volunteers who are innocent and who are holding placards that have the word innocent upon them and thus unmask the identity of the person who has the placard marking them out to be the true murderer. 

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