By Derren Brown
Absolute Magic, in good shape. a bit dusty on best, yet different then that its pretty well mint.
This is the second one variation.
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Additional resources for Absolute Magic
Therefore many performers work with a borrowed key, which starts to make more sense. Keys are a little cold as items, unlike the sentimental associations of jewellery, but they may serve as associations for home, security and so on. Red and black cards separating are not inherently interesting, but the idea of harmony being restored, and balance being redressed, are. For me, as I sit in my quilted silk dressing-gown at the harpsichord and dream up new effects to the sweet rapture of the Goldberg Variations (I’m sure we’d both agree that the Ginone alla Term of the ninth variation is particularly conducive to the stirring of the Muse), this lihinking is fundamental to the earliest stages of the creative process.
Magical powers are not about end results, but about the endowment of the individual with gifts, and the method by which he can ‘magically’ achieve his aims. The change in the world (the turning into a frog, the appearance of the rabbit) is the result of the magic. it is not the magic itself. Again. The magic is the process, it is what causes the effect. The home of magic is between the declaration of will (I choose to have this card change) and the result of that declaration (the card has changed).
This seemed a nice opportunity for a ‘metaphorical intervention’ as some would have it. I told him how it reminded me of an (imaginary) student I had known in my first year at University, also called Simon. ) He had two lingers that were heavily webbed after some horrific birth defect. I laughed and said how he would use the anomaly to get pretty girls into bed. lie would sit them down and get into conversation, and talk to them about having babies and mothering. I mentioned to the real Simon how he would elicit in them ‘mothering’ states by choosing his words carefully and then would anchor the state to the idea of hands.