‘Misdirection is a particularly elusive term (e.g., Lamont and Wiseman, 1999; Kuhn et al., 2014). To date, most psychological considerations of misdirection have focused almost exclusively on how misdirection can be used to conceal objects and events from spectators (e.g., Lamont and Wiseman, 1999; Kuhn and Findlay, 2010; Memmert, 2010). Existing paradigms tend to focus on how to prevent spectators from detecting ostensibly visible elements of the methods behind magic effects. These failures to see have been associated with phenomena such as inattentional blindness (Kuhn and Tatler, 2005; Barnhart and Goldinger, 2014) and change blindness (e.g., Johansson et al., 2005; Smith et al.,
2012, 2013)’
Tompkins, Matthew L., Andy T. Woods, and Anne M. Aimola Davies. “The Phantom Vanish Magic Trick: Investigating the Disappearance of a Non-Existent Object in a Dynamic Scene.” Frontiers in psychology 7 (2016): 950–950. Web.
‘Victor Turner, […] coined the epigrammatic view of “performance as making, not faking” (1982:93). His constructional theory foregrounded the culture-creating capacities of performance and functioned as a challenge and counterproject to the “antitheatrical prejudice” that, since Plato, has aligned performance with fakery and falsehood (Barish 1981).’
Conquergood, D. (1995). “Of Caravans and Carnivals: Performance Studies in Motion.” TDR : Drama review **39**(4): 137-141.
This website, Shift/Work: Crafting Magic https://blogs.ed.ac.uk/craftingmagic/ is written and maintained by Prof Neil Mulholland and is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives CC BY-NC-ND 4.0
