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Magic

"Magic" is also a: user

created by CmdrTaco

(thing) by Mertseger (5.2 mon) (print)   ?   1 C! I like it! Wed Jun 07 2000 at 17:33:42

Historical definitions include:
"... the Science and Art of causing Change to occur in conformity with Will." Aleister Crowley
"...the art of changing consciousness at will" Dion Fortune
"...an art and a science for dealing with particular types of knowledge, the manipulation of which will produce results that will astound and amaze the uninformed" Isaac Bonewits
There is no contradiction between science and magic. All the various systems of magic are maps and periscopes into the unconscious activity of our individual and collective selves. Sure, the maps are inaccurate in some places and the field of view is limited. Sure, the results of psychic activity and magic spells are not reproducible or reliable. That is not the point. The point is that through magic (and only through magic --- if you have the right definition of magic) does life have meaning. Magic is (at least, in my definition) the process of manifesting reality in accordance to your Will.

You wake up in a darkened room and flip on the light-switch to see. That action is, by my definition, magic. Magic does not always work: sometimes the light-bulb is burned out or the power is out. Nevertheless, it works frequently enough for us to have the sense that, thanks to science and power-companies and light-bulb manufacturers and electricians, we can manifest light in our rooms whenever we want it. What amazing magicians we are to have manifested science and power-companies and light-bulb manufacturers and electricians so that we might have the karma of making light whenever we want!

O.K., O.K., but how do you make the leap from the finger-on-the-switch kind of magic to the chants-and-prayers-and-candles-and-bizarre-paraphernalia kind of magic? The purpose of this latter magic is to communicate with the unconscious processes that we use to manifest reality just like we use conscious processes to flip on light-switches.

I believe that we are largely responsible for the reality we create around ourselves. That statement is really harsh and hard to accept for anyone in a system of abuse or the midst of tragedy. But if our definition of self includes the entirety of the unconscious processes that are operent in our lives including the dark, violent parts of ourselves that we wish to deny or hide from ourselves (Jung's idea of the shadow), then the manifestation of terrible things can be seen as the result of processes within ourselves that are beyond our conscious control.

The point of the candle-and-pentagram kind of magic is, therefore, to achieve a similar level of control and accord with our unconscious processes that we have with our conscious processes, and to be able to manifest reality through our unconscious abilities in the same way that we can manifest reality through our conscious abilities. Sometimes we are not smart enough or capable enough or wise enough to make consciously the changes in our lives that we would like to create, and even if we were smart enough and capable enough and wise enough to accomplish what we want to accomplish, doing so would be pointless and hollow if we can not find fulfillment in reaching our goals. Magic is a way of both tapping into powers that go beyond our conscious limitations and finding joy in what we do.

(Note: there is a rather pointless disctinction made between stage magic and the magic practiced by ceremonial magicians and witches. The different uses of the word are completely obvious by context, and, therefore, I did not node this write-up under magick or magik.)


(thing) by MShadow (7.5 y) (print)   ?   1 C! I like it! Wed Oct 18 2000 at 3:56:43

Magic is the field of entertainment also known as legerdemain or prestidigitation (the first referring to the general field of arcane arts, the second referring to the craft of sleight of hand).

Among magicians, there is a clear distinction between the various fields of magic: close-up, parlor, stage, mentalism, and bizarre magic, to name a few.

Close-up magic is performed for people in intimate settings,for small groups, or even one person. It is generally performed with small props, quite often borrowed from the spectator(s).

Parlor magic is performed for a slightly larger group. The dynamics of the environment in these cases demands that the performer stand while the audience sits. Magic of this kind must play broader and be less intimate than close-up magic.

Stage magic is performed for even larger groups, when a stage is the most appropriate environment. This type of magic lacks the intimacy that parlor and close-up enjoy and requires a different type of presentation for the performer to deliver a successful performance. While many stage effects are done with elaborate props and settings, assistants, and background people, there is room for crossover. One often sees stage magicians performing parlor magic, and many will even perform close-up magic on stage, using large-screen televisions to bring the effect to the audience. While stage magic can reach a larger number of people than close-up magic ever can, it is widely agreed that close-up magic provides the greatest impact on spectators. David Copperfield, who has established himself as an icon among stage magicians, has stated that the effects he's performed that receive the greatest feedback from the audiences are the close-up effects, those done with a quarter or some similar prop.

Mentalism is usually performed in a parlor or small stage setting, and is the field of magic that deals with effects of the mind, such as apparent telepathy, precognition, divination, and even the forcing of the spectators' will through mental powers.

Bizarre magic is that field that simulates experiences of a darker nature. Presentations in bizarre magic deal with strange powers, demons, macabre events, and even seances.

Of all the fields defined here, close-up magic is the most technically demanding of the performer. Many of the effects are achieved in part by manual skill, but the performer must also have a keen awareness of spectator psychology and human behavior. Because of the intimate environment in which the close-up magician performs, the barriers that would exist between a stage magician and his audience are not present. A spectator may speak and interrupt at any time. A hand could at any moment come forth and grab the magician by the sleeve. In no field of magic is the unpredictable more a factor than in close-up magic, and the performer must be experienced enough, talented enough, and sensible enough to deal with all contingencies. As such, close-up magic, if it is to be done well, is not for the faint of heart.

Though there are many, many fields of entertainment, from singing to acting to mime to juggling to oration to stand-up comedy to acrobatics, none can evoke what magic can, and that is a sense of wonder and awe. Magic done poorly is trite, but magic done well can cause a spectator to question their own beliefs or what they know about the world. Mentalists and bizarre magicians in particular can leave a spectator with such a profound sense of mystery that it can literally be a life-changing event. Because of this, magic has great power as an entertainment medium, despite the number of lesser talented magicians who fail to achieve this level of performance, or recognize that it even exists.


(idea) by Accipiter (2.6 y) (print)   ?   1 C! I like it! Tue Mar 27 2001 at 22:46:54

I first read the following story on Eric S. Raymond's home page, buried within the Jargon lexicon. It's a great story, and I've passed it on to many of my friends. Be sure to read the Jargon File's definition of 'Magic' before reading further.

There is no copyright attached to this story, and it can be found in hacker folklore across the web.


A Story about Magic
By Guy Steele

Some years ago, I was snooping around in the cabinets that housed the MIT AI Lab's PDP-10, and noticed a little switch glued to the frame of one cabinet. It was obviously a homebrew job, added by one of the lab's hardware hackers (no one knows who).

You don't touch an unknown switch on a computer without knowing what it does, because you might crash the computer. The switch was labeled in a most unhelpful way. It had two positions, and scrawled in pencil on the metal switch body were the words `magic' and `more magic'. The switch was in the `more magic' position.

I called another hacker over to look at it. He had never seen the switch before either. Closer examination revealed that the switch had only one wire running to it! The other end of the wire did disappear into the maze of wires inside the computer, but it's a basic fact of electricity that a switch can't do anything unless there are two wires connected to it. This switch had a wire connected on one side and no wire on its other side.

It was clear that this switch was someone's idea of a silly joke. Convinced by our reasoning that the switch was inoperative, we flipped it. The computer instantly crashed.

Imagine our utter astonishment. We wrote it off as coincidence, but nevertheless restored the switch to the `more magic' position before reviving the computer.

A year later, I told this story to yet another hacker, David Moon as I recall. He clearly doubted my sanity, or suspected me of a supernatural belief in the power of this switch, or perhaps thought I was fooling him with a bogus saga. To prove it to him, I showed him the very switch, still glued to the cabinet frame with only one wire connected to it, still in the `more magic' position. We scrutinized the switch and its lone connection, and found that the other end of the wire, though connected to the computer wiring, was connected to a ground pin. That clearly made the switch doubly useless: not only was it electrically nonoperative, but it was connected to a place that couldn't affect anything anyway. So we flipped the switch.

The computer promptly crashed.

This time we ran for Richard Greenblatt, a long-time MIT hacker, who was close at hand. He had never noticed the switch before, either. He inspected it, concluded it was useless, got some diagonal cutters and diked it out. We then revived the computer and it has run fine ever since.

We still don't know how the switch crashed the machine. There is a theory that some circuit near the ground pin was marginal, and flipping the switch changed the electrical capacitance enough to upset the circuit as millionth-of-a-second pulses went through it. But we'll never know for sure; all we can really say is that the switch was magic.

I still have that switch in my basement. Maybe I'm silly, but I usually keep it set on `more magic'.

1994: Another explanation of this story has since been offered. Note that the switch body was metal. Suppose that the non-connected side of the switch was connected to the switch body (usually the body is connected to a separate earth lug, but there are exceptions). The body is connected to the computer case, which is, presumably, grounded. Now the circuit ground within the machine isn't necessarily at the same potential as the case ground, so flipping the switch connected the circuit ground to the case ground, causing a voltage drop/jump which reset the machine. This was probably discovered by someone who found out the hard way that there was a potential difference between the two, and who then wired in the switch as a joke.


(idea) by Jargon (1.6 y) (print)   ?   I like it! Thu Jul 19 2001 at 11:50:00

maggotbox = M = magic cookie

magic

1. adj. As yet unexplained, or too complicated to explain; compare automagically and (Arthur C.) Clarke's Third Law: "Any sufficiently advanced technology is indistinguishable from magic." "TTY echoing is controlled by a large number of magic bits." "This routine magically computes the parity of an 8-bit byte in three instructions." 2. adj. Characteristic of something that works although no one really understands why (this is especially called black magic). 3. n. [Stanford] A feature not generally publicized that allows something otherwise impossible, or a feature formerly in that category but now unveiled. 4. n. The ultimate goal of all engineering & development, elegance in the extreme; from the first corollary to Clarke's Third Law: "Any technology distinguishable from magic is insufficiently advanced".

Parodies playing on these senses of the term abound; some have made their way into serious documentation, as when a MAGIC directive was described in the Control Card Reference for GCOS c.1978. For more about hackish `magic', see Appendix A. Compare black magic, wizardly, deep magic, heavy wizardry.

--The Jargon File version 4.3.1, ed. ESR, autonoded by rescdsk.


(place) by everyone (3.6 wk) (print)   ?   I like it! Thu Dec 19 2002 at 22:15:52

The Secret Garden
Chapter 23: Magic


Dr. Craven had been waiting some time at the house when they returned to it. He had indeed begun to wonder if it might not be wise to send someone out to explore the garden paths. When Colin was brought back to his room the poor man looked him over seriously.

"You should not have stayed so long," he said. "You must not overexert yourself."

"I am not tired at all," said Colin. "It has made me well. Tomorrow I am going out in the morning as well as in the afternoon."

"I am not sure that I can allow it," answered Dr. Craven. "I am afraid it would not be wise."

"It would not be wise to try to stop me," said Colin quite seriously. "I am going."

Even Mary had found out that one of Colin's chief peculiarities was that he did not know in the least what a rude little brute he was with his way of ordering people about. He had lived on a sort of desert island all his life and as he had been the king of it he had made his own manners and had had no one to compare himself with. Mary had indeed been rather like him herself and since she had been at Misselthwaite had gradually discovered that her own manners had not been of the kind which is usual or popular. Having made this discovery she naturally thought it of enough interest to communicate to Colin. So she sat and looked at him curiously for a few minutes after Dr. Craven had gone. She wanted to make him ask her why she was doing it and of course she did.

"What are you looking at me for?" he said.

"I'm thinking that I am rather sorry for Dr. Craven."

"So am I," said Colin calmly, but not without an air of some satisfaction. "He won't get Misselthwaite at all now I'm not going to die."

"I'm sorry for him because of that, of course," said Mary, "but I was thinking just then that it must have been very horrid to have had to be polite for ten years to a boy who was always rude. I would never have done it."

"Am I rude?" Colin inquired undisturbedly.

"If you had been his own boy and he had been a slapping sort of man," said Mary, "he would have slapped you."

"But he daren't," said Colin.

"No, he daren't," answered Mistress Mary, thinking the thing out quite without prejudice. "Nobody ever dared to do anything you didn't like--because you were going to die and things like that. You were such a poor thing."

"But," announced Colin stubbornly, "I am not going to be a poor thing. I won't let people think I'm one. I stood on my feet this afternoon."

"It is always having your own way that has made you so queer," Mary went on, thinking aloud.

Colin turned his head, frowning.

"Am I queer?" he demanded.

"Yes," answered Mary, "very. But you needn't be cross," she added impartially, "because so am I queer--and so is Ben Weatherstaff. But I am not as queer as I was before I began to like people and before I found the garden."

"I don't want to be queer," said Colin. "I am not going to be," and he frowned again with determination.

He was a very proud boy. He lay thinking for a while and then Mary saw his beautiful smile begin and gradually change his whole face.

"I shall stop being queer," he said, "if I go every day to the garden. There is Magic in there--good Magic, you know, Mary. I am sure there is." "So am I," said Mary.

"Even if it isn't real Magic," Colin said, "we can pretend it is. Something is there--something!"

"It's Magic," said Mary, "but not black. It's as white as snow."

They always called it Magic and indeed it seemed like it in the months that followed--the wonderful months--the radiant months--the amazing ones. Oh! the things which happened in that garden! If you have never had a garden you cannot understand, and if you have had a garden you will know that it would take a whole book to describe all that came to pass there. At first it seemed that green things would never cease pushing their way through the earth, in the grass, in the beds, even in the crevices of the walls. Then the green things began to show buds and the buds began to unfurl and show colour, every shade of blue, every shade of purple, every tint and hue of crimson. In its happy days flowers had been tucked away into every inch and hole and corner. Ben Weatherstaff had seen it done and had himself scraped out mortar from between the bricks of the wall and made pockets of earth for lovely clinging things to grow on. Iris and white lilies rose out of the grass in sheaves, and the green alcoves filled themselves with amazing armies of the blue and white flower lances of tall delphiniums or columbines or campanulas.

"She was main fond o' them--she was," Ben Weatherstaff said. "She liked them things as was allus pointin' up to th' blue sky, she used to tell. Not as she was one o' them as looked down on th' earth--not her. She just loved it but she said as th' blue sky allus looked so joyful."

The seeds Dickon and Mary had planted grew as if fairies had tended them. Satiny poppies of all tints danced in the breeze by the score, gaily defying flowers which had lived in the garden for years and which it might be confessed seemed rather to wonder how such new people had got there. And the roses--the roses! Rising out of the grass, tangled round the sun-dial, wreathing the tree trunks and hanging from their branches, climbing up the walls and spreading over them with long garlands falling in cascades--they came alive day by day, hour by hour. Fair fresh leaves, and buds--and buds--tiny at first but swelling and working Magic until they burst and uncurled into cups of scent delicately spilling themselves over their brims and filling the garden air.

Colin saw it all, watching each change as it took place. Every morning he was brought out and every hour of each day when it didn't rain he spent in the garden. Even grey days pleased him. He would lie on the grass "watching things growing," he said. If you watched long enough, he declared, you could see buds unsheath themselves. Also you could make the acquaintance of strange busy insect things running about on various unknown but evidently serious errands, sometimes carrying tiny scraps of straw or feather or food, or climbing blades of grass as if they were trees from whose tops one could look out to explore the country. A mole throwing up its mound at the end of its burrow and making its way out at last with the long-nailed paws which looked so like elfish hands, had absorbed him one whole morning. Ants' ways, beetles' ways, bees' ways, frogs' ways, birds' ways, plants' ways, gave him a new world to explore and when Dickon revealed them all and added foxes' ways, otters' ways, ferrets' ways, squirrels' ways, and trout' and water-rats' and badgers' ways, there was no end to the things to talk about and think over.

And this was not the half of the Magic. The fact that he had really once stood on his feet had set Colin thinking tremendously and when Mary told him of the spell she had worked he was excited and approved of it greatly. He talked of it constantly.

"Of course there must be lots of Magic in the world," he said wisely one day, "but people don't know what it is like or how to make it. Perhaps the beginning is just to say nice things are going to happen until you make them happen. I am going to try and experiment."

The next morning when they went to the secret garden he sent at once for Ben Weatherstaff. Ben came as quickly as he could and found the Rajah standing on his feet under a tree and looking very grand but also very beautifully smiling.

"Good morning, Ben Weatherstaff," he said. "I want you and Dickon and Miss Mary to stand in a row and listen to me because I am going to tell you something very important."

"Aye, aye, sir!" answered Ben Weatherstaff, touching his forehead. (One of the long concealed charms of Ben Weatherstaff was that in his boyhood he had once run away to sea and had made voyages. So he could reply like a sailor.)

"I am going to try a scientific experiment," explained the Rajah. "When I grow up I am going to make great scientific discoveries and I am going to begin now with this experiment"

"Aye, aye, sir!" said Ben Weatherstaff promptly, though this was the first time he had heard of great scientific discoveries.

It was the first time Mary had heard of them, either, but even at this stage she had begun to realize that, queer as he was, Colin had read about a great many singular things and was somehow a very convincing sort of boy. When he held up his head and fixed his strange eyes on you it seemed as if you believed him almost in spite of yourself though he was only ten years old--going on eleven. At this moment he was especially convincing because he suddenly felt the fascination of actually making a sort of speech like a grown-up person.

"The great scientific discoveries I am going to make," he went on, "will be about Magic. Magic is a great thing and scarcely any one knows anything about it except a few people in old books--and Mary a little, because she was born in India where there are fakirs. I believe Dickon knows some Magic, but perhaps he doesn't know he knows it. He charms animals and people. I would never have let him come to see me if he had not been an animal charmer--which is a boy charmer, too, because a boy is an animal. I am sure there is Magic in everything, only we have not sense enough to get hold of it and make it do things for us--like electricity and horses and steam."

This sounded so imposing that Ben Weatherstaff became quite excited and really could not keep still. "Aye, aye, sir," he said and he began to stand up quite straight.

"When Mary found this garden it looked quite dead," the orator proceeded. "Then something began pushing things up out of the soil and making things out of nothing. One day things weren't there and another they were. I had never watched things before and it made me feel very curious. Scientific people are always curious and I am going to be scientific. I keep saying to myself, 'What is it? What is it?' It's something. It can't be nothing! I don't know its name so I call it Magic. I have never seen the sun rise but Mary and Dic