LINEAMIENTO 2: EVALUACIÓN DE LA CONDICIÓN DE SALUD DEL

In Short: A person is hypnotized into believing they levitated. Then, evidence shows they just may have, indeed, floated!

Presentation: This levitation is a “Paper Balls Over The Head” kind of levitation and relies on Neurolinguistics for full benefit. I refer to this as a “linguistic levitation”.

You will want several spectators around the person you are going to help levitate. You need these spectators as witnesses to prove that you did not simply lift the participant in the air through physical means. The participant will have to close their eyes at a key point in the levitation.

“I am about to help you levitate in the air. Most people feel that they are levitating three to five feet. Some people feel they float even higher than this. In order to activate this levitation I will have to open your crown chakra.

Have the participant stand in front of you, with their back facing you. Have them lift their arms halfway by their sides. Press down on their head with both of your hands.

“Now, if you say yourself starting to levitate, you wouldn’t believe it…and you really have to believe in order for this to work. Don’t worry, the rest of the audience will make sure that I don’t simply lift you up…You will feel as if you are levitating due to a sort of trance I have created by opening the chakras…but it is important to keep your eyes closed until you float back down!”

Then have them close their eyes as you take your hands off their head, and then push up on each of their arms with each of your hands. They will feel like they are floating.

Now quickly tell them, “You can begin to float…and now you can feel yourself descending. Have you stopped floating yet?”

When they answer, “Yes,” tell them to open their eyes.

Details: By saying “Have you stopped floating yet?” I imply that they have been floating for a while with the word “yet”. You will also know they have felt they have stopped floating when they begin to open their eyes! So pay attention to their eyelids!

A touch from Oliver Meech, shared here with his permission. “It would be cool to add some kind of 'proof' that they levitated. Perhaps you could adapt a Cards Across

presentation: have them sit on 10 cards then, while they are supposedly levitating, you say that you are inserting 3 extra cards under them. They float back down and open their eyes. Now they count their cards and there are 13. This should surprise the audience who know that they haven't lifted off the cards at any time.”

Final Thoughts: This can also be presented as astral traveling of the aetheric body or the aura being manipulated.

Credits: I found this stunt as a practical joke in the book “The Practical Joker’s Handbook” by John Dinneen on page 13. By applying certain linguistic trickery and a mystical context I have turned this into a “linguistic levitation” in a Paper Balls Over The Head moment. Slydini originated “Paper Balls Over The Head” and was a direct

inspiration for the framing of this effect. Sometimes, other people will want to feel this floating/levitating feeling and you can create it for them as well.

AURA OR AURA (SOMEWHAT UPDATED)

(An updated piece)

First, I will give the original “Aura or Aura” techniques in the following text (most of this text is reprinted from “Risk & Reward”). In the Updates Section, I will show you how to explore the Aura even more; and even include ways to smell and taste the Aura.

The spectator is instructed to hold out their left palm, as if to do the beginning of a karate chop. The magician doesn’t say as if to do a karate chop, but instead demonstrates the posture of the spectator. The right hand’s fingers should point directly at the palm of the left hand. Separate your hands by about a foot. Have the spectator do the same thing with their hands; that is, have the spectator separate their hands by about a foot as well. Tell the spectator to slowly move their hand; very slowly so as not to brush air against the palm, and tell the participant they will feel a slight sensation. The sensation might be a tingling or a warm feeling, but there will be a sensation. The spectator will look at you amazed after they feel the sensation. This is taught in some metaphysical circles as a demonstration of feeling one’s own aura.

“You have felt your own aura, and you now know that auras exist. No, I am going to teach you to see auras. Focus your eyes on the wall in front of you. Now, let your eyes widen their vision, so that your vision encompasses the whole wall without moving your eyes. Let your eyes slightly defocus, in other words. Now look at an object [or your hand or a person] with this mode of vision and you will see a faint aura. That is how you see auras.” Simply follow these instructions, and your audience will be seeing auras. So will you. Give it a shot.

Next, you can demonstrate to the entire audience how they can feel the vibrations of their auras. Have them hold their arms out in front of them, palms down. Then have them intone the world “OM”. They will feel a vibration in their palms. I’m not exactly sure what the scientific explanations are behind this, but I do know that it’s great fun and an

easy way to “prove” the “vibration” of an “aura”. You can find this method taught in a couple of metaphysical books. These three items when put together make for a great, convincing proof of auras.

I don’t know the exact explanations for these things. I simply know that these demonstrations work and that they are useful when applied properly.

STRANGE SENSATIONS

After reading this, Caleb Strange was kind enough to send me the following:

Aura or Aura: a dazzling borealis of wonders. I love this! Blurs the usual line between performer and audience. I’ve been having great fun with this. One thing I’ve found is that it is possible to stir the pointing fingers, and a corresponding movement is felt in the other palm. T his feels very spooky, if you, as the volunteer, have your eyes closed, and the performer places his/her pointing hand flat against yours (knuckle to knuckle), then stirs silently and slowly. Creepy and intimate.

Now, this stirring could lead to something Jermay’s A Twisted Palm [found in “7 Deceptions”], where the movements of the performer’s hand above the palm are felt as well as seen. However, more interesting is that I’ve found your aura effects one and two can be combined. Start off with feeling the aura. Then stir. Then have them see the aura of the hand. Then stir, so that the aura is seen to move even as this movement is felt.

Finally, this is a theatrical detail, but for the ‘entire audience feeling the aura OM bit’, then I would have everybody standing to begin with, but tell people to sit when they feel the effect. That way, dozens of these private effects are experienced more generally— “Oh, crikey! George has sat down now! What on earth is going on here?” (Actually, I think this is one of the challenges of suggestion magic. How to make one person’s internal experiences external and visible to many.) Anyway, this sitting-down when you feel your aura is coercively persuasive, and acts itself, as a powerful suggestion.

“THIS SWAY’

I shall provide three “sway tests”. The first two involve physically touching the

participant. The third test has you simply motioning and the participant following your pull. The first two tests are from “Body Magic” by John Fisher, with updates and tips from me. The third test is a standard aura test in the occult field. You can find one example in “How to See and Read the Aura” by Ted Andrews. I have, of course, put a spin on this aura pull by adding in some suggestion and also the conditioning of the first two physical sway tests.

SWAY ONE

“I’m going to put my index fingers on two points of what is known as the Triple Warmer in Energy Work. I want you to relax as much possible. Put all your weight on your

heels, relaxing more and more. Now, let your arms dangle at your sides. Close your eyes and lift your head up and back. Imagine that you are falling…falling…falling…when you fall I will catch you.” The participant then falls into your arms after you remove your index fingers.

This is an effect from Body Magic by John Fisher dressed up with suggestion and tied into an Energy Work framework. From behind the participant, you put both index fingers on the back of the shoulder blades of the participant. Proceed with the above script, and the participant will fall backwards into your arms—be sure to catch them. Part of the suggestion that helps this work more often is “when you fall” implying that they are going to fall, it is only a matter of time. When presenting this demonstration it is

important to imply the Energy Work being done and the suggestions are to emphasized so that it doesn’t look as if they are falling only because you ask them to fall. It must be implanted into their minds that suggestion combined with Energy Work is the cause for the fall.

SWAY TWO

“Now, I’m going to hold what is known as a Neurovascular Point in Energy Work. I want you to rest your weight on your toes and let your arms relax to your sides. I will press the point and you will let your head drop forwards…with your eyes closed. Now, I want you to feel the sensation of falling…just as before…and when you fall you will be caught.” The participant then falls forward and you dutifully catch them.

This time you only need to hold one point, putting your fingers of your right hand on the left temple of the participant’s forehead. If you follow the above scripting, the person will fall or slump over, and you must be sure to be ready to catch them. This is another dressed up physical “stunt” from Body Magic . Next, things will get even more

interesting.

SWAY THREE

This is the first of the two non-touch methods for making a person sway; they may even slump or fall over depending on how deep you have conditioned them to behave in the previous Sway Tests. You will be standing behind the participant this time; the same participant from Sway One and Sway Two. Actually, it will look as if you are completely behind them from the side, but you can (optionally) be in their peripheral vision. When you are first starting and first experimenting, get as close as possible to the participant without touching them. Now, you will make gestures as if you are pushing forward and then backward, rapidly do these gestures then slowly slow down the rate of pushing and pulling—this will emphasize the effect more as the participant sways

forward even the slightest fraction, and sways back even the slightest fraction . “I will be pushing and pulling you without touching you. I will be influencing your aura. Accept this suggestion; you have seen how the Energy Fields can be redirected in the previous two tests; now allow yourself…your body…to sway…in motion with my pushing and pulling as you feel it now. Swaying you back and forth…almost unconsciously.” Again

be prepared to catch the person! The words in italics are embedded commands.

SWAY FOUR

This is a piece that I figured out while describing Sway Two and Sway Three. In Sway Two, you put your fingers on a temple of the forehead and have the person fall. In Sway Three, you don’t have to touch the person to get them to sway…and on rare occasions Sway Three will have the person falling too. In Sway Two, you have set up a very effective anchor. At the beginning of the Sway Two instructions, explain, “Every time I touch your Neurovascular Point in this manner, you will fall down.” You are anchoring the experience of touching the point on the forehead with the physical reaction of falling down.

Run through Sway Two a couple of times and then you can go to Sway Three for a bit of a pattern interrupt. Then go back to Sway Two, but do not touch the point on the

forehead. Simply reach towards the point and push down in the air as close as you can get to the participant without touching them. Properly done, many people will fall over at this point and it your responsibility to catch them. This is similar to some techniques used by faith healers. Here we are framing it as Energy Work. We are setting examples and conditioning the participant until we no longer have to actually make physical contact.

SWAY FIVE

While talking about “Swaying”, I would be remiss not to mention this ideomotor sway effect. This effect has been around a long time, but I have rarely seen it performed and it takes a lot of guts.

You will need a few people—enough to make a circle around one person when holding hands in the circle. One person will be sent out of the room, while the rest of the

participants choose a “target person” for the out-of-room participant to guess. The party present in the room is told to think of only the Target Person and nothing else—just keep silently repeating the Target Person’s name.

The out-of-room participant is brought back into the room. This participant is put in middle of the circle of people. The circle of people hold hands with each other, but the participant is in the middle of the circle. “Just let your unconscious go and let your body sway towards the chosen person, your unconscious will pick up on little cues and details from our body language.” Eventually (in most cases) the participant sways toward or even falls toward the Target Person .

SWAY SIX: HUMANDULUMS

Ever wanted to demonstrate pendulum work, but forgot your pendulum and/or there is nothing around to use as a pendulum? Well, I have great ‘news’ for you!

Humandulums is an impromptu method to solve this problem. This will leave an astounding effect on your audience demonstrating your supreme control over almost anyone! This is an extension of “SWAY FIVE”. You will be using humans as

pendulums. Specifically, you will be using “ideomotor response” disguised as “energy testing”. Earlier you learned about “Central Meridian One Arm Strength Test” in the section labeled “THREE PHASE MODULAR ENERY TESTING”. It is a simple manner to apply this arm energy test as a substitute for pendulum work.

You can also condition a person to sway forward at the sight or sound of a certain phrase and sway backwards on the sight or sound of a different command using hypnotic/NLP conditioning techniques. Have the person sway forward each time you show the word “LOVE” on an index card. As they sway forward make a slight motion with your other hand towards yourself. Now ask the person to sway backward each time they see the word “HATE” on an index card, with a subtle pushing of back of your hand. Now, show them the LOVE/HATE cards in different orders, and for the final test tell the participant you will merely think of one of the emotions and they are to let their unconscious decided on which way their body shall sway. Look at one of the index cards but don’t show it. If the person sways forward show the card and it will say “LOVE”. You should be

concentrating on the emotional content of the word LOVE throughout the routine every time you show the LOVE card; just as you should be focusing on the emotional content of the HATE card each time. Of course, if things don’t go your way for some reason,

you have the opportunity to do a top change which allows you an out because you do not show the face of the card until after the person sways.

SWAY SEVEN: FAITH HEALERS

I’ve saved one of my favorite “Sway Tests” for last. This is based on the work of faith healers who claim to be “real”—whether they are or not is not the subject of this writing. But there are some interesting techniques you can use to duplicate the feats of these faith healers. You will find some great techniques talked about on “How to Be A

Megalomaniac” by Phil Farber (VHS, I believe it has now been converted to DVD). Essentially you will “collapse anchors” to achieve knocking down an adult human with the power of a simple touch. There is also a more violent method that is sometimes employed—either with the simple touch method or in lieu of the simple touch when the touch method doesn’t work.

I will be using some “theological” terms such as God and sinners in my example, but you can easily replace God with “The Force”, “The Universe”, or perhaps for humorous touch “Flying Spaghetti Monster”. Each time the faith healer refers to God in a profoundly deep “preacher’s voice” he raises his arm and hand palm up as if reaching up to “Heaven”. Each time the faith healer refers to “sinners” or “hell”, the palm is pointed towards the congregation or even towards a certain member of the congregation. Now a member from the congregation/audience is brought up. One anchor has been set for “God” and the other anchor has been set for “sinners”. The faith healer “collapses” these

anchors by reaching up and then in a fast motion coming down with his hand on to the forehead of the participant. This creates a collapsed anchor condition and with the a preconceived notion that the member should fall down, this collapsing anchor further cements the outcome.

The second method is that many times faith healers hit a pressure point on the forehead. This guarantees the fall of the person, even blacking them out, but is quite dangerous and IS NOT RECOMMENDED IN ANY SHAPE OR FORM. Knocking people out by hitting them in a nerve/pressure point IS NOT ENTERTAINMENT, IT IS ASSAULT!

ON THE SUBJECT OF “FAITH HEALING”

Here is a little body stunt that you can create semi-miracles with when presented with the