Okay, so welcome to the last talk for today about magic and software by the the talk is
done by the software developer Steven Goodman and the magician James Merlin and you decide
who you see.
Okay, thank you all.
As we said, my name is James Merlin.
Thank you for that.
I haven't done anything yet.
So my name is James Merlin and I'm a magician.
Now when I said I was going to present at Fozdem, I went to the magic shop in Brussels and I
asked the magic man in the magic shop who stood behind the magic counter, have you got any
new magic tricks that I can show those lovely folk at Fozdem?
So the magic man in the magic counter had a look around and he looked on his magic shelf
and he saw a little red box and they thought that's a nice little red box.
But I don't know what it's for.
Maybe inside the box there'll be a thought it up playing card or a coin or a prediction
of something yet to happen.
Do you know what's inside the little red box?
It was a little black box and I thought, okay, that's nice enough.
It's a little black box.
I quite like it.
It goes, it's magician-y, it's mysterious.
So I asked the magic man in the magic counter what's inside the little black box.
Maybe there's a folded up playing card or a coin or a prediction of something yet to
happen.
And do you know what's inside the little black box?
Nothing, it's empty.
I thought, oh well, never mind.
I quite like the little black box, it's mysterious.
I don't have a use for the red box.
So the magic man behind the magic counter said, well, since it's false-tem, if you buy
the little black box, you can have the little red box for free.
So I thought, that's great.
I know what I'll do with the little black box.
I'll use it and store a folded up playing card or a coin or a prediction of something
yet to happen.
But for now, I'll put the little red box back inside the little black box and put it on
my magic shelf for later.
Now, that's my trick.
I call it little red box.
But is it really my trick?
I mean, the whole idea of one box that is inside another box and the bigger box goes
back inside the smaller box it came from, that wasn't me.
That was, I think, Leber Friedler, who came up with the idea.
He did it as a stage effect and he had big boxes on stage.
This small version of the little red box, that was an Alibongo idea.
And that box used to belong to Alibongo.
So the pattern about the magic shop, sorry to spoil it.
There is a magic shop in Brussels, but I didn't go there to get the little red box.
I take it some of you twigged that that was all a lie, right?
Yes.
I wrote that, spent some time honing the words, thinking about what I wanted to say.
Well, I can say that I wrote the words to that trick, but I didn't come up with the
trick.
So is it still mine?
And this is one of the things we're going to look at over the next 20 minutes or so.
So we'll start, we should probably start at least by sort of putting out our stall.
What is magic?
What are the parameters that I'm going to be going through today?
Well, it's not magic, the gathering.
No one's walking out yet, so good.
We've got the right audience.
Magic will say is something that maybe we don't understand, the most common question
is, how did you do that?
We like to think of it as entertaining.
And we also consider the allied arts.
So these are things like this chap, Harry Houdini, a scopologist, in what is his favorite
picture of himself.
Is that magic?
I mean, it's entertaining.
There's a process that goes on that you don't know about that the performer does.
So there's that sort of thing.
What about clairvoyance?
Is that magic?
Psychics?
You don't know what's going on?
They're doing something you don't know?
I mean, it is said there are two types of psychic, the fraudulent and the delusional.
But they can't.
For me for this, I say no.
I'm going to focus primarily on the magic magic things.
The debate is open on this fella still.
Uwe Geller, he's the one on the right.
I consider him a magician.
He doesn't.
He thinks he's real.
Hands up if you think he's real and bending the spoon with his mind.
Yeah, he's a magician.
So now we're going to say, now we know the type of magic that we're going to be looking
at.
Let's then start breaking it down.
We start with the effect.
What's the broad strokes of what roughly happens?
What am I trying to convince you is actually going on?
Am I trying to convince you something is appearing or disappearing or changing?
They said there's only sort of seven different types of storylines that you can ever have.
So maybe the same is true in magic.
So what do you think is happening?
That broad strokes, we have the presentation.
What am I doing to convince you that effect is happening?
And then the method.
What is the thing that I'm really doing that you don't know about that makes the whole
thing work?
And the presentation can come in many, many shapes.
And I'll show you just two very briefly.
So there's a typical plot in magic called card to impossible location.
You have a deck of playing cards.
Someone will pick a card.
It will get lost in the pack.
And then miraculously the card is no longer in the pack, but it's over there.
Or it's in my shoe or it's in the back of the room.
Now there are so many variations of this card to impossible location.
You can't possibly have all of them and try and claim a right on every single version.
It's no different.
If the card goes from here to that shoe to there, you can't claim it's a different trick.
Magicians often say, well, if you change any two of these things, it's a new trick.
So the effect, the broad strokes, as a public you generally don't care.
The method, as the public, you should never know.
So if I as a magician change the effect and the method to keep the presentation the same,
I've got a brand new trick.
But everyone else thinks it's exactly the same one as before.
If Penn and Teller were doing this, take a card, lose it.
Penn and Teller will make that card turn up in the fish guts of some fish that you pick
randomly.
They'll make it appear on a billboard.
They'll do something gross quite frequently.
But that's them.
If I was doing a kids show, I might have something like this.
I can say, OK, do you all want to pretend that you're seven years old?
Yeah!
Hello, everybody.
Hey!
My name is Billy Nomates and I'm here to do some magic.
So we're going to start with a book.
Can you see the book?
Lots of blank paper.
So anyone who can draw here, can you draw some?
You can draw.
You're going to draw on the book for me?
Draw a picture.
And look, you've now got pictures in the book.
Aren't you clever?
You've drawn pictures.
Now, oh, thank you.
Now, who likes painting?
We've got people who like to paint.
You like to paint?
What colors do you like?
Do you like red?
Take some red, take it out the end, throw it at the book.
Who likes blue?
Throw some blue at the book.
Well done.
Throw some yellow.
Well done.
Isn't it amazing?
Woo-hoo!
But you know what, boys and girls?
When you stop applauding, the magic goes.
And there really is no pictures and no colors in the book.
Also available for weddings, christings and marvits.
Now, that's a kid's presentation.
If I was doing this for a group of sensible, grown-up people...
I would present it in a completely different way.
I certainly wouldn't take it seriously.
I certainly don't think anyone here believes the book is magically changing.
But I would have a presentation that would suit me somewhat better.
I might say it would certainly be comedic,
and it would be something along the lines of,
I would like to say it to everybody.
I would like to do something of mass hypnosis.
Because at the moment, you can see I've got a book of blank pages.
Now, I'm going to hypnotize this side of the audience to see images.
Can you see images?
That's because you've all been hypnotized.
Can you see images?
No, because you haven't been hypnotized yet.
Let me hypnotize you over this side.
You're now all hypnotized to see images.
Can you see images?
But can you see images?
No.
Okay, you're all now hypnotized.
So you can see images,
and I'm going to hypnotize you extra special,
so now you can see colored images.
Can you see colored images?
Okay, now you're hypnotized.
Now you can see colored images.
And I better unhypnotize you all,
otherwise you'll still think there were pictures,
and in fact, we're just left with blank paper.
It's exactly the same trick.
APPLAUSE
That's exactly the same trick, isn't it?
I've just changed that presentation,
yet it's completely different.
So what are we actually going to be protecting here?
So anyone remember this song by Steve,
Shave of My Heart?
It was really quite popular a number of years ago,
and you know, good enough song.
I'll read the words for those at the back.
I know that the spades are swords of a soldier.
I know that the clubs are weapons of war.
I know that diamonds mean money for this art,
but that's not the shape of my heart.
The four suits of the playing card
are in the first verse of the song.
Do you not think that every single magician who heard that song
is sitting there in their basement going,
oh, I think there's a magic trick in this?
And then we get to the second verse.
He may play the jack of diamonds,
he may lay the queen of spades.
Do you think any of the magicians were not stupid enough
to have realised there's a magic trick at this point?
Have got a magic trick at this point?
Of course they have.
Every magician had that idea,
and because it's independent of the invention,
they both claim to it.
But because it's exactly the same trick,
cards suddenly appear,
there were two magicians who were fighting each other
almost physically about who had the rights to perform the trick.
No one bothered to ask Sting's permission first.
So let's head back.
So when we talk about magic,
are we looking at art?
Is magic art?
It can be.
I don't think it's ever going to change anybody's viewpoint
on the world, breathe life into the conversation
about the human condition.
But it's art, probably low art, but it's art.
Is it science?
So ultimately, there is a process going on,
there's nothing mystical here,
and in the case of real magic,
it has to be science.
It's something that TV producers, movie producers,
always like to skirt over
if they're doing this fantasy thing
that has a magic element in it.
They say, oh, magic exists in this world.
Well, if magic is able to exist within that world,
then those things happen in that world,
therefore that is science.
Maybe you don't know what the science is,
but it's a scientific fact that that thing happens.
They just haven't considered it.
And when we say, is magic a business?
Oh, absolutely it is.
One of the biggest parts of magic is the business.
People are creating magic tricks
for the sole purpose of selling them,
not for performing them.
So I suppose we should get to the juicy bits about secrets, right?
So the first secret is we don't call it secrets.
There's no such thing as a secret.
It is always a method, it's a process.
Any one particular trick
might use more than one secret,
more than one method.
Sometimes that method will be
the sleight of hand that's being used.
Sometimes the words themselves will be very specific
to achieve a certain result.
Sometimes these words might be almost inconsequential.
You, as someone that's watching that,
will not think that those words are chosen for a reason,
but they actually were.
So we don't refer to secrets, we refer to them as method.
And there is a lot of method insert some routines.
The second part of the secret is what I call the disconnect.
There is a gap between what you know
and when you actually know it.
So I think most people will be aware
that if I took a deck of playing cards
and I started dealing out perfect hands of poker,
you'd go, well, the cards are already stacked in an order
that gives you perfect hands of poker.
You know about stack cards,
you know about bottom dealing
and false shuffles that don't really shuffle the cards.
But if you see a magician doing a card trick,
you might not actually realize they're doing that
if maybe you just forgotten or they did something
that disconnected that moment.
It's very, very common if you really start analyzing magic.
You'll see there's often times,
and if you know what's going to happen,
I can spot when magicians move their hand in a particular way,
I know what piece of slight of hand they're going to do.
That's just part and parcel of being a magician.
But if you do that and you don't know what's coming,
you forget that it ever happened.
So when you see the actual thing, it's like,
yeah, I know there's stacked decks,
but I thought they shuffled it.
I thought the spectators shuffled it.
And magicians will do this all the time.
They will say, if I give you the deck of cards to shuffle,
you shuffle the cards, it's probably legitimate shuffle.
But if I shuffle the cards,
and then I ask you to just maybe cut them,
at the end of the trick, I will say,
and you shuffle the cards, and you'll say, yes, you didn't,
you cut the cards. I shuffled them.
But I'm just rewriting the rules for you
so you remember it in a different way.
Magicians get stumped by this all the time.
I've had people who have told me about magic tricks
that I have done, which have been incredible.
And I'm going, I can't do that magic trick.
That's impossible.
And it's because they've remembered it incorrectly.
Also, there's a secret in the vocabulary that we use.
Special words that only us know about,
that we can talk about,
IDs which stands for antiti, which is a...
And then a magician will automatically know
what I'm talking about without having to keep explaining everything.
So now we know roughly what we're talking about.
How do we protect all of this stuff?
We could use copyright.
Works for software?
Mm-mm.
Doesn't work.
The effects...
Now, you can't copyright the effect.
There's not enough there.
It is just saying something disappears.
Could be...
We've said this, so there's so many types of magic effect.
There's seven different types of story.
This is every type of magic effect.
So we can't copyright that.
There's nothing there to copyright.
What about the presentation?
We can copyright that presentation.
Me talking about the little red box,
that's a script.
That's a piece of prose. That is copyrightable.
I can do that.
That's fine.
And the method.
Can't copyright the method.
That method is just a list of instructions.
And traditionally speaking, you can't actually copyright a list.
You copyright the expression of that list.
Recipes don't have copyright,
but you can have copyright in recipe books
because you're expressing the idea.
You're creating a presentation for the recipe.
Same would be true with our method.
We can't use copyright.
We could use patterns, right?
I know software patterns are evil, yeah?
Still roughly on that agreement.
So can we patent the effect?
No, it's not a patentable entity.
There's nothing there.
Do we patent the presentation?
No, that's the thing that's handled by copyright.
We've got that.
Can we patent the method?
Yes.
If something is sufficiently advanced,
a method can be protected by a patent.
So you write down the method, you write out how it works,
if it's inventive enough, you file it at the patent office,
and you have a patent, and you've legally protected your trick
from being used by anyone else.
Anyone's got the problem with that?
To protect the secret,
you have to file it publicly where people can look at it.
Yeah, problem.
This is a patent.
This is a patent for a magic trick.
Anyone recognize which magic trick?
No, because there's a disconnect.
That pattern applies to this magic trick.
David Copperfield's flying.
I don't want to spoil it for you,
but if you don't want to let the answer look away now,
that's the pattern to look up
if you want to learn how to fly like David Copperfield.
It's a matter of public record.
You can go and find it.
I'm actually taking that number down.
It was created by George Galvin.
He patented it just so that he could claim it.
We all know he's not really flying,
but he protects it anyway.
Could we use a license agreement?
We have copyright in code,
and we choose to put it under a particular license.
We could license our magic.
Well, could we?
Could we license the effect?
We're not doing the presentation.
Certainly it's a copyright thing,
so you can say, I allow you to perform this presentation.
And the method?
No.
Again, it's not a license.
Magic books, when they're sold in shops,
specialist magic shops,
they are sold like other specialist books
in Clear Wrappers.
So if you have a license in the book that says,
you are only allowed to use these tricks
for your own personal use,
that's a fairly common thing to include.
You have to buy the book, unwrap it,
then see the license agreement you've already agreed to,
even though you couldn't read it.
Anyone say, end user license agreement?
Has anyone ever found that they're actually a good thing?
But they're in magic.
We got them somehow. I don't know.
So how do we actually protect all this stuff?
Well, the simplest way is in doculus privata loci,
because I believe it's pronounced in Latin.
Do we actually have any Latin scholars in?
Good, so no one's going to correct me on that one.
And that just basically means, keep your mouth shut.
If you don't tell anyone what your secret is,
no one's going to find out. Great.
We can protect it with money.
Yep. If someone wants to know how the little red box tricks worked,
pay me, and I'll tell you.
Oscugation.
We've mentioned about having a vocabulary in magic
that the lay public don't know about.
We can protect it through just hiding bits of things in plain sight, essentially.
If you find magic forms online, they do exist,
and they do talk about how these things work.
They will have little initials and little stars removed from work,
little stars inserted into words,
so you can't tell what it is unless you already know.
And ethics.
Ethics is the thing that you do when no one else is watching.
Business ethics is the optimal one.
But that's because it's not a community.
The ethics work in magic because you don't want to get kicked out of your magic club.
You want to go...
It's the only place in the entire world where you can get a bunch of weirdos in a room,
and they all feel normal.
Present company accepted, maybe.
But we've got a little problem here.
This is a magic trick.
It's not a very good magic trick.
It's $15.56.
It makes things float.
Map magician's like making things float.
And this is a new device.
It's obviously not a rip-off of something old.
It says this new device.
It contains no threads, no magnets, and no wires.
See, you don't know what you're buying,
but you do know you're not buying any threads.
You know you're not buying magnets, and you know you're not buying wires.
So here's another trick.
This also makes things float.
This is called self-vention.
It makes a mobile phone float.
And this one is also a new trick, and this uses no thread, no magnets,
no clear plastic, no wires.
Wait, hang on.
This floating thing uses no threads, no magnets, and no wires.
This floating thing uses no thread, no magnets, no clear plastic, and no wires.
Anyone want to guess at how this works?
That's an online magic shop.
And what do all magic shops have?
A forum where you can review things,
and then someone will post,
the main gimmick came misaligned and the gimmick cards that hold the magnet.
Okay, so there was a magnet.
Popped apart after just a few minutes.
Easy to repair, but there we go.
A normal random magician has just told everyone,
by the way, magnet,
we can't even protect them amongst ourselves.
So how are we going to learn this stuff?
Well, there's lots of ways we can learn it,
and because I'm a magician,
I am contractually obliged to do a card trick of some sort.
So I got these cards, because...
Can you see these at the back, hopefully?
So that's kind of...
I'll come out here.
I do know some people.
Find someone I don't know.
I don't think I know anyone here.
So could you take a few cards off of the top for me?
Lift them all up as a block.
Yeah, any number.
Lift them all up as a block,
turn them all upside down,
and put them back on the top.
Excellent.
Now, who thinks we're in on this?
Who thinks I came to him earlier and said,
by the way, when I do the thing with the cut,
you're not very trusting.
I like you.
Okay.
I'd like you to take a nice big handful of cards off the top.
So, you went to be earlier, right?
Oh, yeah.
Take a big handful.
Actually, I thought I cut.
Maybe we'd do it something.
Big, big, big handful.
Turn them all upside down and put them back on the top.
Okay.
Now, who thinks we're in on it as well?
I think you're in the hoose.
Yeah, we possibly are.
Anyone?
Do you think we're both in on it?
Yeah, do you want to come up with me?
Hold the cut.
No, no.
Do you want to come up with me?
No.
Who wants to come up to the front with me and hold these?
Yes?
Hold them.
Don't let me.
People think I palm these cards.
I'm not.
Bring them down to the front.
Somebody might even give you a bit of a pause for that.
Yeah, if you hold it for it.
Okay.
Come up to the face so we can see.
So, you took some cards.
Turn them over.
You took some cards.
So, somewhere these cards will go from face up to face down.
Yes.
Can we find out where that is?
Can you move through the cards?
Somewhere that we should see the first face down card.
No, not that one.
That's face up again.
So, it's somewhere there.
See, there's only cards stuck behind them.
Okay, so it's this one.
So, if you'd have picked a few cards more, we'd be this side.
If you'd have picked a few cards less, we'd be this side.
If you picked a few cards less, we'd be this side.
If you picked a few cards more, we'd be that side.
So, it's this one.
So many ways this can go wrong.
Could you take that one?
If you take the card and hold it up to the audience and get ready,
I've got my prediction here.
Show everyone what it is and shout out in a nice loud voice.
The name of the card is the Eight of Hearts.
No, okay, so it's not.
Oops.
Hang on.
Is it the Three of Hearts?
No.
Hang on, I know what I can do.
The name of the card is a heart.
Is that correct? Is it a heart?
Okay.
I don't need this anymore then.
What is the card, by the way?
The Ten of Hearts?
Not the Eight of Hearts.
Not the Three of Hearts.
It's the Ten of Hearts.
I don't need this then, do I?
Thank you very much.
Put the cards back on the table and we take a seat.
There we go.
Brand new magic thing.
I learned that.
I learned that from a book.
I could have also learned it from a DVD or the internet
or from lecture notes.
I could have learned that from anywhere,
but I happen to learn it from a book.
What about the copyright?
It's a book.
It still has a copyright.
That particular thing was done by this guy, Ted Anaman.
If you're googling on your web pages right now,
you can find books by Ted Anaman.
I'm not telling you which book by Ted Anaman.
You've got to spend the time and effort finding it.
I can tell you that I've read his book and that comes from his book.
Instead of a dry erase board, he used chalk on a chalkboard.
The difference between the permanent marker and the dry erase marker,
he used paint and chalk.
Who else reads Ted Anaman's books?
That guy.
Derren Brown and myself, the right resident, James Merlin,
have both learned these cyber things from these books.
Incredible.
And yes, there's a copyright,
but Ted Anaman died about 80 or years ago.
So even if you say, well, I'm going to buy the book,
I'm still out of copyright now,
you could quite literally just copy it freely.
But it doesn't matter,
even though that secret could well be out there,
could just be disseminated by anyone for free,
it's a 100-year-old trick and it still gets a round of applause.
So does it really matter if the trick is known?
So how are we going to go on about sharing it?
Well, all of the aforementioned things.
We have our own little number of patrol that we use,
our nice little words and phrases,
that everyone has in every field of endeavor,
every person has got their own private in-jokes,
every industry has got their own special jargon.
Magicians have it too.
We have the names of gaffed and gimmicked decks.
Everything's got a name for some reason.
Again, I'm not telling which book that trick comes from,
but you try searching for that.
What are you going to type into Google?
Trick with a tenor heart that gets wiped out on a board.
That's not going to come up with any search results.
Unless you know the name of that trick,
you can't actually search for it.
There's no way of just gripping it.
I can't remember the name of the trick.
I've been doing that for 20 years now.
I can't remember what it's called.
I can barely remember how to do it.
So the naming of things throughout,
the naming of slights, for example,
some people, if they've got a slight
or something with their hands,
it will have a name, often named after the person
who came up with it.
Fine, name things after yourself if you want.
It doesn't make you egocentric at all.
But if you know the name of that slight,
you can look it up, you can find out how to do it,
and you'll probably find YouTube videos explaining it,
usually by some 12-year-old kid
who's doing it better than I can
because they've actually got time to do this stuff.
We also do this by tipping the methods.
Magicians are like computer games
in as much as they have levels.
If you don't have enough health points,
you can't get through to the next bit of the game.
If you don't have enough experience in this part of the game,
you can't do the next bit.
The game locks you out of content if you're not good enough.
Magicians will lock out other magicians
if they don't think they're good enough.
The mechanics of some of these things are very, very simple.
I'll show you that and I can talk you through it.
Yeah, great.
But it's more than just doing a set of steps.
It's about knowing how you're doing them, why you're doing them.
Funnily enough, there is a certain level of skill
in standing up in front of a load of people doing this stuff.
How do you teach that?
Is that actually learnable?
And if I don't think you're good enough
to put a good version of that trick on display,
I won't teach you what you need to know.
I'll wait until you are good enough to be able to do it.
And all magicians are like that. It sounds very cruel, but we do.
Just that little hook into the secret, the method.
Just like a foothold. Just enough to get you started.
So we say it's the end, but it's not quite.
No one has put up a board yet, so I've got time for one last thing.
Some of you may have seen this, which I put on the table earlier.
So you see here we have a series of, they're called Xena symbols.
They're created by Professor J.B. Rine, Duke University.
And these symbols have nothing special about them.
Actually, I could be asking you to just look around them,
model them up or something.
But make sure that there are five cards there,
and the symbols on each of them are different.
I'll come over to this side, because these are the same,
these are the ESP symbols.
And on this side we have numbers.
Numbers were not invented at Duke University.
They are quite a bit older than that.
Would you actually ask you to mix up this?
How many cards have you got there? Three?
Mix up those other two as well.
Count them, make sure there are five of them,
and make sure all five symbols are different.
I'm going to come back to you.
I've got to get my steps in today.
Can I have those for a moment?
You're happier or different than that?
I'm going to put these here, and you're going to watch me,
and you're going to make sure I don't palm these out for other cards.
So I'm going to put one there.
One there.
One here.
One there.
And one there.
Okay, I'm not completely sure.
But those are the cards that you check, they're not...
So over this side,
you have five cards, and they're all different.
Okay, would you give me the first one?
And would you like this to go in, sort of, number one, two, three, four, or five?
You've got five choices. Where would you like?
Number three?
Exactly right. Good.
Next one. Where would you like to go?
You've got anything from one, two, three, or four?
Four.
Okay, have another one.
Actually, let's try reading someone else.
Can you give me a number? We've got one, two, or five left.
What would you like?
Five.
And two more left.
Let me try and mind read someone right at the back.
Yes?
One.
So, can we finally have someone who's very bad at making decisions?
Exactly.
Now, I say I don't do mind reading, and that's kind of true.
I do what we do as programmers.
The easiest way to read someone's mind
is to put the idea in there in the first place.
So when I say there's a free slot,
I'm not actually saying there's a free slot, I'm saying it's a free slot.
What did you say first?
Of course you did.
And the same for the other ones.
When you said four, I double-tapped the card onto four.
Who spotted the two I got wrong?
Two of these are on the wrong way, so I need to swap two of these over.
Who hasn't had a chance to shout out anything yet?
Once I shout out which two of these I need to swap?
I see a random number.
Which one do you want to go?
If I choose one, then obviously it's going to look fake.
So what ones do you want?
Three and one. Are you sure you're happy with that?
Is everyone happy he's not a stooge, and I haven't stoogeed them and them and everyone?
Three and one. So that's number one, and that's number three.
Now, some of you are probably good enough at maths
to work out this could happen by chance.
There's a five in one that these are going to match.
Which means there's a four in one that these will match.
So that's five times four, that's 20.
There's a three in one that these are going to match.
So that's five times four times three.
There's a two in one, so that's five times four times three.
So that's 120.
There are 120 possibilities for this, and that's just by chance.
That's just pure luck.
But 120 on one chance.
I've done this trick 119 times so far.
So I'm really lucky this is full-stem.
So here we have two circles, two stars, two pluses, two wavy lines, and two squares.
Now, I said I don't do mind reading, well I do mind writing.
I put the ideas in your head.
Who saw what I was doing to put those ideas in?
I mean, where did we end?
We ended up on chapter five, right? How did chapter five start?
Here, we talked about sharing the magic. Let me stand this up.
What's the very first symbol on chapter five?
The symbol next to the word chapter five, the symbol next to five, and the symbol at the very end.
Five is square.
Who remembers chapter four?
When we have the title of chapter four, what's the symbol of the beginning, middle, and end?
What's the fourth symbol?
Chapter three. Who remembers chapter three?
The fourth symbol is around the title on chapter three.
There were a lot of slides.
It's a plus. What's in the third place? It's a plus.
You've been looking at these slides for the last half an hour.
How are you not going to pick that?
You're always going to pick the plus for number three.
What about number two?
There's a star. Chapter two, star, star, star, star.
And finally, chapter one, what is magic?
Well, it's having a circle, a plus, a star, a plus, or wavy lines.
All because of that. What is magic? This is my name is James Merlin.
Thank you. Good night.
If there was time for questions, I can take questions.
Forgotten.
Thank you.