> so much of it boils down to “I practiced for years and developed a seemingly superhuman ability to manipulate this object”.
Amateur magician here (but a magician member of the Magic Castle, so I know a few things). Manual dexterity is certainly a useful skill, but it's just a tiny part of the art of magic. You can be a consummate sleight-of-hand artist and still be a mediocre magician, and conversely, some of the best magicians don't use particularly difficult sleights. The best example of that I know of is Dani Da Ortiz's routine on Penn and Teller Fool Us:
Now, Dani is in fact a master at sleight-of-hand, and so one would think that you are watching a masterclass in sleights, but no. There are a few sleights, but they are not particularly difficult, beginner-level. I could do them, and I'm not particularly skilled. The trick is based almost entirely on timing and misdirection and psychological subtleties.
The degree of psychological subtlety in top-level magic continually blows my mind. The best magicians make it look like magic even when you know how the trick is done. Dani's trick is a consummate example. The performance looks like chaos, but in fact every detail is meticulously crafted and serves a purpose. It's almost like watching a dance.
" The best magicians make it look like magic even when you know how the trick is done. "
Agree with this. I remember being the 'skeptic kid' at a birthday party long ago. The magician involved me in a trick everyone could figure out but it was done with charm and I was completely delighted.
When teaching this whole routine, Dani spends much more time on the psychological background and nudges that are used, rather than the physical card manipulation techniques.
Yep. I am blown away not just by Dani's execution of this routine, but also by its design. It is a true thing of beauty, with layer upon layer of subtlety that most audience members will never appreciate because they don't know it's there. It is deliberately hidden. It has to be. Being hidden is an essential part of its function. Which is why I always try to seize the opportunity to raise awareness of this sort of thing among muggles.
BTW, if you are a Castle member, Carl Hein is currently doing a routine in the Library Bar that is IMHO in the same league Dani's Fool Us routine. We took some friends of ours to the Castle a week ago and Karl absolutely melted their brains. They're still talking about it. :-)
(And if you're not a Castle member but are in the LA area, contact me privately and I can set you up with a guest pass.)
Amateur magician here (but a magician member of the Magic Castle, so I know a few things). Manual dexterity is certainly a useful skill, but it's just a tiny part of the art of magic. You can be a consummate sleight-of-hand artist and still be a mediocre magician, and conversely, some of the best magicians don't use particularly difficult sleights. The best example of that I know of is Dani Da Ortiz's routine on Penn and Teller Fool Us:
https://www.youtube.com/watch?v=5_KcQt0z-eE
Now, Dani is in fact a master at sleight-of-hand, and so one would think that you are watching a masterclass in sleights, but no. There are a few sleights, but they are not particularly difficult, beginner-level. I could do them, and I'm not particularly skilled. The trick is based almost entirely on timing and misdirection and psychological subtleties.
The degree of psychological subtlety in top-level magic continually blows my mind. The best magicians make it look like magic even when you know how the trick is done. Dani's trick is a consummate example. The performance looks like chaos, but in fact every detail is meticulously crafted and serves a purpose. It's almost like watching a dance.