By Sofie Lachapelle
Conjuring technology explores the historical past of magic exhibits and clinical leisure. It follows the frictions and connections of magic and technology as they happened on the planet of renowned leisure in France from the mid-eighteenth to the early 20th century. It situates conjurers in the broader tradition of technology and argues that degree magic shaped a tremendous well known conduit for technology and clinical enthusiasm in this interval. From the clinical recreations of the festivals to the grand illusions of the theatre degree and the advance of early cinema, conjurers used and have been encouraged by way of medical and technological suggestions to create illusions, impress a feeling of ask yourself, and sometimes even teach their viewers. of their arms, technology took on many meanings and served varied reasons: it used to be a collection of friendly proof and leisure demonstrations upon which to attract; it was once the data awarded in a number of clinical lectures observed by way of optical projections at magic exhibits; it was once the concepts essential to create illusions and results on degree and in a while on the cinema; and it was once how to separate conjuring from the deceit of mediums, mystical showmen and quacks with a view to achieve a greater status inside an more and more scientifically-minded society.
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Extra info for Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France
But they are cultivated by two different classes of men: some make them an object of pursuit, either in consequence of their situation, or through a desire to render themselves illustrious, by extending their limits; while others pursue them for mere amusement, or by a natural taste which inclines them to that branch of knowledge. It is for the latter class of mathematicians and philosophers that this work is chiefly intended; and yet, at the same time, we entertain a hope that some parts of it will prove interesting to the former.
Source: La Vie d’un artiste du XIXe siècle siècle: Souvenirs personels du célèbre prestidigitateur Robert-Houdin (Grammont, Belgium: Œuvre St-Charles, 1900), 6. 34 Following the exhibit, Robert-Houdin decided to try his hand at professional magic. He rented Science Meets Magic on Stage 23 space at the Palais-Royal on the rue de Valois and, in July 1845, embarked on a new adventure. Every night, he presented magic as a combination of dexterity and clever mechanics in his Soirées fantastiques de Robert-Houdin.
Amusing during his evenings. ” 27 But Robert-Houdin was not a fan of every conjurer he witnessed. He particularly disliked crude and bloody magic and was shocked by the violence of the successful Italian conjurer Giovanni Bartolomeo Bosco (1793–1862) who decapitated birds in an act that was not only bloody but also involved the actual death of a bird. )28 It was during those formative years that Robert-Houdin began to construct his own automata, the mechanical human and animal androids for which he would later become famous.