<p>Magicians’ speech flow, called “patter,” is considered part of their toolkit to direct audiences’ attention away from the secret method and towards the magical effect. Here, we set out to determine whether patter helps induce inattentional blindness during the Three-Card Monte. As a magic act, the Three-Card Monte features a performer that shuffles three cards and challenges spectators to track the red card, using sleight-of-hand to ensure they fail at this task. Participants viewed a recorded magic performance of the Three-Card Monte. Videos were accompanied by a congruent audio narrative, an incongruent audio narrative, or no sound. Crucially, the red card had a subtle but visible water stain mark: any participants who noticed the mark had a foolproof strategy to always know the red card’s location. We found no differences across conditions (congruent, incongruent, or silent) in how many participants noticed the mark, or how long it took them to notice it. Our results suggest that patter does not significantly misdirect audiences’ attention in the Three-Card Monte, and possibly neither does it in some other close-up magic routines. Despite this, magic patter may intensify the audience’s emotional engagement, strengthen rapport between spectators and performer, and increase the show’s entertainment value.</p>

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Assessing the role of magician patter on deception in the Three-Card Monte

  • Arthur Nguyen,
  • Robert G. Alexander,
  • Ashwin Venkatakrishnan,
  • Stephen L. Macknik,
  • Susana Martinez-Conde

摘要

Magicians’ speech flow, called “patter,” is considered part of their toolkit to direct audiences’ attention away from the secret method and towards the magical effect. Here, we set out to determine whether patter helps induce inattentional blindness during the Three-Card Monte. As a magic act, the Three-Card Monte features a performer that shuffles three cards and challenges spectators to track the red card, using sleight-of-hand to ensure they fail at this task. Participants viewed a recorded magic performance of the Three-Card Monte. Videos were accompanied by a congruent audio narrative, an incongruent audio narrative, or no sound. Crucially, the red card had a subtle but visible water stain mark: any participants who noticed the mark had a foolproof strategy to always know the red card’s location. We found no differences across conditions (congruent, incongruent, or silent) in how many participants noticed the mark, or how long it took them to notice it. Our results suggest that patter does not significantly misdirect audiences’ attention in the Three-Card Monte, and possibly neither does it in some other close-up magic routines. Despite this, magic patter may intensify the audience’s emotional engagement, strengthen rapport between spectators and performer, and increase the show’s entertainment value.