BORRIBLE

Academic publishing vs. magical publishing/secrecy

You are a prolific author in the magic arena and, you are clearly well read in the same field. Do you think that there should be more encouragement for the publication and discussion of magic, whether effects, sleights, history, performance etc...?

I ask, coming from an academic background (mathematics). I am very aware of the affect publishing (or not) has had on my field over the ages. The relative openness of my field, especially over the last hundred or so years, has been very positive; not only for its width and depth, but also the understanding of the ideas and their applications.

Personally, I think that adapting the academic style, with respect to openness, publishing and references, would be advantageous to magic.

MAX MAVEN

I'm not sure I understand your question. There has not been any notable restriction on the publication of magic literature. The amount of bad publications is, of course, substantial. But there is -- and long has been -- a place for academic approaches to the subject, albeit the readership is smaller than that for recycled technical information.

BORRIBLE

I suppose I'm asking whether you feel it would beneficial if there was more of this sort of publishing. As you say, the current readership is small, and I believe it is smaller than other artistic endeavors, even taking into account the relative number of people involved. I used the word encouragement, since I expect the 'secrecy' side of magic has discouraged some from serious research.

MAX MAVEN

Indeed, I think it would be beneficial. I think the reason there is not as much of a readership for this sort of thing has to do with the fact that most magicians are not really interested in studying and exploring their art. Rather, their approach is superficial, because their goals are superficial.

DAYMO

The Real Deal?

When you present your act, how would you like for the audience to interpret what they have seen? Do you want your audience to believe that you are psychic?

MAX MAVEN

Not particularly. I want my audience to believe that they've experienced mystery, and to give me credit for having accomplished that through means that are unusual, difficult and worthy of respect.

TOBIAS

Square eyes

I remember you on the TV series 'The Best of Magic'. In that show (among others), you did routines that people at home could try.

Is this an aspect of mentalism that you particularly enjoy (reaching out to people in their homes), or is it more a question of doing something because it suits the medium? There are, of course, limitations on exactly what can be done with audiences, but on the other hand there aren't many types of magic that can directly involve those who are seated many miles away.

Second, are there any current performers of mentalism that you particularly like? In particular, are there any relative newcomers who've caught your eye?

MAX MAVEN

I began exploring the idea of interactive through-the-screen television material in the early 1980s. It is, to me, a fascinating interface. Although most magicians don't seem to care for the results, it would appear that lay people do.

Regarding young mentalists who have impressed me, it's always dangerous to make such a list, because inevitably I'll forget names. Having said that, I'll mention Derren Brown and Michael Weber as two who immediately come to mind as doing interesting work.

MAGIC ED

Non-professionals

I, like so many of us (if we are truly honest), am a hobbyist. I do not perform professionally and in fact, I have a sporadic and impromptu "schedule" to say the leastv

It has been suggested (if not directly said) by a few professional performers in mentalism that it is an art form for pros, that the pressures and demands of structured performance is what is needed to shape one into a "proper" mentalist or mental magician.

Do you think there is a place for those of us who might aspire to the heights of quality mind magic on a more casual basis?

Could you offer any words of comfort or advise for those of us who want to entertain but simply have to grab moments and audiences as they wander past us or fall into the various traps we litter about in hopes of gaining a momentary subject?

Basically Max…are we worthy?

MAX MAVEN

Despite what you may have heard, I have nothing against amateurs. I do, however, feel that there is a difference that exists, based on experience -- both in terms of quality and quantity.

Can mentalism (or magic in general) be done by someone who doesn't do it as a full-time effort? Yes. Are there things that can only be learned "under fire" via constant performance? Also yes.