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The communication and the relations with children in psychotherapy needs further studies and experimentations to develop effective methods, suitable to be taught. This paper presents the clinical experience of the authors about the use of techniques of illusionism in the clinical consultation with children with cancer, starting from a review of the scientific literature on their use in patients with organic diseases during the developmental age. [ABSTRACT FROM AUTHOR]

In 1894, French psychologist Alfred Binet (1857-1911) published an article titled "The Psychology of Prestidigitation" that reported the results of a study conducted in collaboration with two of the best magicians of that period. By using a new method and new observation techniques, Binet was able to reveal some of the psychological mechanisms involved in magic tricks. Our article begins by presenting Binet's method and the principal professional magicians who participated in his studies. Next, we present the main psychological tools of magicians described by Binet and look at some recent studies dealing with those mechanisms. Finally, we take a look at the innovative technique used by Binet for his study on magic: the chronophotograph. [ABSTRACT FROM AUTHOR]

Illusionism has been used for centuries as an artistic instrument according to laws of great psychological interest. Primarily, magic tricks work because cognitive and emotional aspects are susceptible to manipulation. In fact, reality is not experienced by individuals as such, but is the result of the construction actively conducted by the brain. The art of magic is based on the action of the intrinsic properties of the mind and that of magicians - like crooks and cheaters - they are in fact experts in cognitive science that are able to cleverly manipulate the perception of reality. Prestidigitation originated as a secret discipline requiring complex learning so much so that even today, despite recent vulgarization through the internet, mastering this art is not so much as knowing the tricks but the perseverance in their studies, curiosity in experimentation of mind and the particular way of thought. Illusion has its own laws regarding function it is exceptional and unique, depending on the background of the individual which in part is shared by other people. Towards the end of the nineteenth century many scholars were occupied in scientific studies of the psychological aspects of prestidigitation, in various cases involving famous magicians of that time. In the last decade neurosciences have been interested in studying the mental mechanisms involved in magic with the aim of identifying unknown psychological mechanisms thanks to spontaneous experiments offered by magic and illusionism. This text illustrates the basic elements of psychology that is linked with illusionism so as to try and understand the potential contribution it can offer to neuroscience. The theme of illusion is also analyzed in the evolution of the epistemological paradigm in which includes the relationship between therapist and patient. [ABSTRACT FROM AUTHOR]

Magic as a performing art has been an interpersonal medium for centuries. In the early 1930s close-up, face-to-face magic had to make way for large-scale illusions on television. As a result of the immediacy of face-to-face magic, magician's magic used to rely on split-second timing and tremendous expertise and skills on the part of the magician. The interpersonal presentation of the art of magic has a persuasive effect that is instantaneous and guaranteed to be authentic. The fact that the illusion is created right in front of one's eyes and in one's presence makes it a highly authentic product created mainly through the skill of the conjurer. This is no longer true today. With its large-scale illusions and television effects, the migration of the art of magic to television has made the art of prestidigitation a mere documentary-drama (docu-drama). With the advent of television, approaches to acting, directing, and prestidigitation have changed tremendously. The use of establishing medium and close-up camera shots creates a sectional analytical montage with an integration to a higher level of meaning (Barthes 1988:101) than that of a stage show. Although television as a medium has made it easier for magicians to produce a magic show using the advanced technology of audiovisual media, it also reinforces the perception that illusions are created by using special cinematographic effects. Therefore, television presents magicians with a fundamental problem in persuading the audience of the authenticity of the art of magic within this new medium. To date there has been a certain level of success with magic on television and via the internet when one considers that it has made famous magicians out of David Copperfield, Pen and Teller, Criss Angel, David Blane as well as South Africa's Martino and Wolfgang Riebe. These magicians have successfully adapted stage magic to television. This article presents a critical descriptive overview of the measures taken by magicians to adapt magic shows from theatres to audiovisual media in a way that encourages people to suspend their disbelief. It also analyses the implications of the invasion of television into the technical art of magician's magic for the survival of magic as an art form through a listing of fundamental problems in this adaptation process. An overview is provided of the history of magician's magic on an interpersonal face-to-face level in theatres and this highlights the techniques used by magicians in this environment. The article further explores the problems that practitioners of the art of magic encounter in its adaptation from stage to screen by reviewing some of the most prevalent dilemmas regarding the use of special effects in television and film. Lastly, insight is provided into the measures that magicians take to curb the audience's perception that special effects are responsible for creating the magic within audiovisual media. [ABSTRACT FROM AUTHOR]