The Horizon of Reason

Exploring the boundaries of logic and perception

Are you sure … ?

Performing magic touches at the the core of how we see the world. The fact that magic is possible, the fact that our brains can be deceived so easily proves that reality is  not necessarily what we perceive it to be. Alvo Stockman expressed this basic fact on his video blog recently:

Being sure is at the core of being human and it is at the heart of what magic relies on…. People need to mentally commit to something before it is destroyed.

Here he eloquently surmises the essence of magic. The magician creates a situation of which the spectator is certain that it is true. Although the fact that the spectator knows that he or she is watching a magician will create some suspicion,. But because they don’t know what will happen next it is almost impossible not to believe what they see, as there is no hint available to what is actually going on. The technique, but more importantly the presentation, of the magician make the spectator’s mind “mentally commit” to the state of affair as presented by the magician.

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In this video you can see me performing the Ninja Rings in the suq (street bazaar) in Luxor, Egypt. Although the routine keeps repeating the same effect, the technique is so deceptive that there is no way the spectator can think anything else but to assent to the state of affairs as presented by me, i.e the rings penetrate each other.

The spectators will search for solutions in their mind and when handing the rings out for inspection they find out that their perceptions were wrong. One particular spectator in this video gets a bit too enthusiastic, nearly destroying the actual weld that hold the rings together. He is very committed to obtaining certainty rather than believing what I cause him to see.

Alvo continues on more general terms:

Every day our brain makes decisions about what we see in probabilistic terms. The more information we have, the more certain we are about the world.

In magic, we actually create the opposite situation. The magicians presents a reality that does not conform with reality as the spectator is use to see. This creates cognitive dissonance in the spectator’s mind – there is a gap between the state of mind in the spectator and what they actually see. In great magic an experience is created in which the spectator becomes more and more less certain about what they see, until a point has been reached where no rational explanation is immediately available and a state of astonishment.

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Proud to be a Neanderthal

Homo Sapiens is currently the dominant human species. This was, however, not always the case. For 200,000 our closest cousins, the Neanderthal, dominated Europe.

Neanderthal
Neanderthal!

Back in 1993 I backpacked around China for a little while. When visiting the historical city of Xian I shared a dormitory with an Australian who introduced herself as being an archaeologist. We needed some passport photographs for something rather and when she saw mine she exclaimed:

Neanderthal!

You might think I was insulted, but in fact I am proud to be associated with the earliest Europeans.

For most people, when we say Neanderthal we think about brutish creatures, somewhere between apes and humans; dragging their wives by the hair into a cave and

Anthropologist John Hawks believes that we should give Neanderthal a bit more credit. Neanderthal humans are not as primitive as was first believed. They had the same brain size as us and yet have smaller bodies. Many archaeological evidence points towards a sophisticated culture. Manganese oxide rocks with artificial wear and tear found in caves in Europe point towards art, as this material is used as a pigment. Also, Neanderthal stone tools were no less advanced then the tools made by Homo Sapiens. contemporary to Neanderthal. This shows that Neanderthals were not primitive sub-humans, but capable of abstract thought.

Erik Trinkaus argues that early European humans show  morphological aspects that are distinctive Neandertal traits. There are also some indications in the genetic material found in the archaeological record. Some scientists have posited a hyberdisation of early Homo Sapiens with Neanderthal. The interbreeding between these two species of man must have accelerated evolution as diversity is the engine of natural selection. Scientists of the Neanderthal Genome Project have even suggested that the ability to use language was passed on from Neanderthal to modern Homo Sapiens.

I am glad that current research shows that we need to reconsider the way we see Neanderthal and thus I can say:

I am proud to be a Neanderthal.

 

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God exists!

Kurt Gödel's proof of God

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The Praise of Folly

Today is Ash Wednesday and in many places around the world, including my home town of Hoensbroek, this marks the end of the annual carnival. Traditionally, Ash Wednesday was the start of the lent and carnival were the last three joyful days before the sombre time of fasting until Easter.

The annual carnival is an important part of the annual calender in the southern parts of the Netherlands and has played an important part in the first thirty years of my life. When I was a boy I was dragged by my parents to many carnival parades and parties. When I was in my second year of university I even had the honour of being known as Prince Peter I of the Klotsköp in Hoensbroek. My last carnival experience was when I visited a party of the Limburger Kangaroos in Melbourne Australia.

Prince Peter I and the Council of Eleven of the Klotsköp (1989-1990).

Having been away from my home town for ten years now I have obtained some distance from these traditions to be able to place them in some philosophical context. Although it might seem at first sight that carnival is about eating, drinking and fornicating as much as possible, in this article I will argue that carnival plays an important part in contemporary post-modern culture, specially with the disappearance of its religious significance as a preparation to the fasting.1

The essence of the carnival is a praise of folly and it are three days of the year when the normal world is turned upside down. Power over the city or town is symbolically handed over to the prince of the carnival and his Council of Eleven. The council and the prince are cultural mediators of the festivities, creating a connection between the everyday world of the sane and the world of the insane. The Council of Eleven is steeped in symbolism. Their bicornes are inspired on the hats worn by jesters and symbolise the foolishness that is central to carnival. Their formal suits are a reminder of the worldly connection of the council who are thus mediating between the two worlds. Every member of the council and the prince wear a chain that symbolises their unity. The regalia of the prince, his sceptre, feathers and other distinguishing features, are an expression of his symbolic power of the three days of folly. The council and the prince are the cultural mediators of the carnival, as it is their task to organise the carnival and bring folly to the otherwise so serious world.

Carnaval parade in Hoensbroek 2010

Carnaval parade in Hoensbroek 2010 (Photo: Evelien Prevos).

The most recognisable aspect of carnival in most cultures around the world are the costumes worn by the revellers. They replace their identity in real life for a temporary identity, usually signifying a connection with the bizarre world of insane. The costume is a ‘mask’ behind which one can hide their normal identity so that carnival can be celebrated without shame. Although revellers hide their personal identity behind the ‘mask’, it is in fact an expression of their individuality. People take great care choosing their temporary identity and some express themselves in very individual creations.

The temporary loss of personal identity is an expression of a longing to a pre-modern time. Celebrations have a strong collectivist character – to properly celebrate carnival requires a critical mass of people. This is why my most recent experience with carnival in Mebourne was not very satisfying, compared to my home where regular life stands still for several days.

This shows a paradox in carnival. One the one hand we celebrate our individuality through costumes and on the other hand we seek for collectivist experiences. In contemporary society, personal identity is a product of individual development. We can, to a certain extent, choose our identity. This is, however, a fairly recent development. Our identities used to be determined by tradition and heritage. Although we can never fully relinquish our tradition and heritage, we now have great freedom in defining ourselves.2 During carnival the idea of a fixed identity is implicitly cirticised and our post-modern concept of individually created identities taken to the extreme with the ‘mask’ as a symbol of the fluidity of our identity.

During the the three days of carnival, many towns organise strange activities that are totally deprived of meaning. One such example is the annual Kowrenne (running of the cows) in Hoensbroek.3 This is a game whereby people run underneath home made models of cows. There is no reason for this activity, nor does it contain any symbolism to something outside the activity itself. These activities are an expression of the collective identity of the people that organise them and therefore have a very strong local character.

Carnival is an expression of Huizinga’s Homo Ludens, the playing man, providing resistance against the individualist aspects of contemporary life by organising a collective experience. The absurdity of carnival is an ode to absurdity, with the fools as the central symbol, mediated by the Council of Eleven. In carnival, people refer back to a time when, as Michel Foucault argues, when sanity and insanity where not opposites, but were complimentary. The absurdity of life is, according to Albert Camus, located in the confrontation between the irrationality of reality and our longing for clarity. In carnival, this confrontation is resolved by giving priority to the irrational. Carnival is thus a purification ritual as a catharsis for the pressures of contemporary life. Even though carnival has, in most regions, lost its connection with religion, it plays an important function in contemporary society.

Expressions of absurdity are not limited to places where carnival is formally celebrated. Many sports events, dance parties and pop festivals show similar aspects. This shows that, as Barbara Ehrenrecih beautifully outlined in her book Collective Joy, that we have a deep need for ritualistic moments where we can express the absurdity of life and relieve our selves from having to create our own identity. Carnival shows that we should not take life to seriously and that reason and insanity are not mutually exclusive extremes, but aspects we need to fully embrace in order to be fully human.

  1. This is a abridged translation of a Dutch essay written for the eZine Cultuurwetenschappen.
  2. Peter Prevos, Cultural Identity: Are we able to choose our own identity?
  3. See the wonderful drawings of René Feijten
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Nothing more practical than a good theory

One of the great problems in management theory is that there is quite a bit of humbug and I think there are several reasons for that. Management thinking is, due to its very nature, entrepreneurial and everybody who has an idea wants to ensure that it is read by as many people as possible and maybe make a few bucks is the process. More than any other science, management ideas are primarily developed to make money and people are thus willing to pay good money for them.

However, not many management theories are underpinned by solid scientific research. As a working manager you need to be equipped with a pretty good ‘bullshit radar’. Looking around the management section of the average bookshop the volumes on sale do not seem to meet the rigour of academic research. Many books give you ’simple solutions’ to success. Good to Great by Jim Collins is one of the best selling volumes in this genre.

The Business Pundit blog provides a great criticism of Collins’ work which is basically pseudo-scientific. The book is touted to be based on solid scientific analysis of data, but in fact relies on Jim’s intuition (p. 11):

“We all have a strength or two in life, and I suppose mine is the ability to take a lump of unorganized information, see patterns, and extract order from the mess – to go from chaos to concept.”

Collins did not use any detailed statistical analysis of the data, there are no indications of statistical validity of his findings. Although he repeatedly emphasises focusing on the data, his interpretation of the data is not scientific, but based on intuition. There is nothing wrong with using intuition to make specific decisions, but you can not call it science and generate general rules for good business management.

The reason pseudo scientific books like Good to Great are popular is because our brains are not naturally wired to be critical thinkers. The success of a lot of business literature is based on confirmation bias and the Forer Effect. We prefer information that confirms our  preconceptions. Also, most popular management theory does not go beyond self-fulfilling prophecy and broad sweeping general statements and its popularity is in essence based on the same psychological principle that explains the success of astrology and other forms of divination.

Another problem is that the average manager does not have the capability or drive to fully understand complex theories that underpin human behaviour. Managers don’t want to read complicated scientific theories and if you like to write a management best seller, stay away from using complex statistical analysis.

Management is in essence a social science that aims to influence human behaviour in order to achieve a collective goal, whether that be increasing profit or creating a great piece of orchestral music. Management seeks to influence the behaviour of customers to convince them to purchase goods or services. Management seeks to influence employees to ensure goal oriented behaviour. Management theory is also about influencing or anticipating behaviour of the external world, i.e. the stakeholders and possible competitors.

As a social science, management does not follow the strict rules of the natural sciences. There are no simple formulas to ensure staff motivation, increases sales volumes or ensure customer satisfaction. Management is about human behaviour, which is intrinsically unpredictable. I have criticised Collins for not using scientific methods in Good to Great. There are, however, limits as to what the scientific method can achieve in management. All we can hope to achieve is to develop  statistical models. These models do, however, not produce nice statements about nice sounding concepts such as ‘Level 5 Leadership’ and the ‘Hedgehog principle’. At best, scientific analysis provides partial insights into a very specific phenomenon instead of the organisation as a whole.

There are also too many practical and ethical issues with undertaking full scale management experiments that would be required to make the sort of claims that Collins promoted in Good to Great. Simply looking at sets of data from the past can not generate such claims because there are too many confounding variables that are not covered by the data. In other words: the principles distilled by Collins might not be the only reasons these hand picked companies were successful.

Theory does, however, remain an important means to regulate our intuition. Before we had a consistent theory of gravity, architects were very limited by the size of buildings they could create. As our theoretical and practical knowledge of structures improved, so did the size of the buildings. Theory is required to propel human knowledge and even though management is many times more complex than skyscrapers, using only intuition will not improve our knowledge of managing organisations.

In conclusion, because management is a social science, we can not rely on theoretical models alone. Working with people requires insight and intuition that can only be obtained by life experience. However, theory is an important underpinning of our intuition and in the end, there is nothing more practical than a good theory.

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Magic Blueprinting: Using MML for scripting routines

The history of magic and the history of language go hand in hand. Language started with verbal communication, supported by dance, painting and rituals. Ancient shamans passed their craft on to the next generation in this very same way, initiating their apprentices step by step through one-on-one instruction via words, dance, painting and ritual.

Writing as we know it first developed about 6,000 years ago in present day Iraq. From then on, people wrote about every aspect of their lives, including magic. But, no writing about how to perform magic has ever been found in ancient documents. It seems that the pact of secrecy between magicians prevented them from committing their knowledge in permanent form. It is interesting to note in this respect that magicians have always been at the forefront of technology when it comes to creating the illusion of magic. When it comes to explaining secrets, however, magicians are a lot more conservative. The first magic book was published more than five millennia after the invention of writing! Since then, writing has been used prolifically by magicians to teach each other about their secrets and  initiate new magicians.

The twentieth century brought new technologies and with new means of communication came new ways of teaching magic. In a span of only a few decades, magicians moved from books to video and now to DVD and on-line technologies to share their secret knowledge. This proliferation of technology in magic teaching has made it much easier to pass on knowledge, but also raises problems for the craft, as there is a fine line between teaching magic and blatant exposure of magic secrets.

The evolution of language is still ongoing and as our world becomes more complicated, people seek new ways to present knowledge beyond verbal communication and text. One of the most popular tools to communicate a series of actions over a period of time is ‘flowcharting’, a technique that was first used in 1921. This time, however, it took magicians only 87 years to adopt this new form of knowledge presentation, when Alvo Stockman developed the Magic Modelling Language.

Presenting a series of activities in a graphical way is used in many different disciplines and is known under many names. Some call it a flowchart, others an activity map or a process map, while marketers prefer the term service blueprinting. I use these maps in my non-magical professional work to outline processes and illustrate where improvements can be made. Some of the questions that can be asked when looking at a process map are: Are there too many steps? Are all steps necessary to reach the end goal? Is the right person taking this step? Where can this process go wrong? These are also relevant questions for a performer when developing a magical routine.

After reading Alvo’s pamphlet I immediately developed flowcharts for some of my favourite magic routines, such as A Card in Hand by Theodore Annemann (Annemann’s Card Magic, 1977).

Follow this link to see the blueprint of my version of Card in Hand. The backstage aspects have been censored to avoid unnecessary exposure of the secrets. If you are interested in learning this routine, buy Anneman’s book.

The magic blueprint for this routine does not strictly follow the specifications of MML 1.0. Firstly, the flow of the action is illustrated with lines between boxes, rather than the grid like appearance of MML, making it easier to follow the flow of action. Secondly, to distinguish between the actions of the performer and the spectator, so called ’swimlines’ are used. These are the vertical lines across the diagram. Thirdly, the actions of the performer are separated in frontstage and backstage. Frontstage is that which the spectator is supposed to see, while backstage refers to any action, the ‘moves’ spectators are not supposed to see. Last, but not least, a fourth swimline is used for the monologue, forming a comprehensive blueprint of a magic routine.

The map shows that there are six steps in this routine from the frontstage magician point of view, while there are five steps where the spectator gets involved. The routine has one climax, which happens in the spectator’s hand. Last but not least, there are three backstage moments that require attention management.

The front-stage actions of the performer are what the spectator is supposed to see. In this particular routine, the performer needs six steps, including an introduction, to reach the end. A Climax Quotient of 1/6 seems very low, but the scripting and high involvement of the spectator help to increase tension towards the end. Other routines, such as the Chinese Linking Rings, have a very high Climax Quotient, as many magical effects happen in quick succession, but it is very hard in these type of routines to build up tension and they thus rely on rhythm, rather than scripting.

The spectator swimline shows that he or she is heavily involved in the routine with an Interactivity factor of five. This routine is almost in perfect balance in that out of a total of eleven frontstage actions, the spectator undertakes five, giving an Interactivity Ratio of 11/5 (45%).

The script has been added to the actual process map to show the relationship between words and actions. The words are like the audio track to the actions and serve a threefold purpose. The words are explanatory and support the actions. The words also aid in managing the spectator’s attention away from the backstage actions. Most importantly, the words build tension towards the unveiling of the card. I have borrowed this technique from Fred Kaps’ rendition of Homing Card, where with every failure the inner conflict of the performer becomes more intense, moving from surprise to confusion to embarrassment.

This routine has three backstage moments, which need to be kept outside the attention of the spectator. Using a magic blueprint helps to construct a routine to appropriately direct the spectator’s attention away from the backstage. In this example, the scripting is constructed in order to manage the spectator’s attention away from the backstage action.

Not every little movement is captured in this map. For example, as I say the words: “… we use the top card”, I gesture with the top card to direct the spectator’s attention. This action does, however not show on the blueprint because it is a detail the spectator is not aware of. Small backstage actions are indicated in the script between straight brackets. But, what is the appropriate level of granularity in magic blueprints?

As Dai Vernon once said, a routine needs to be simple and a spectator has to be able to remember the steps. Following this advice, looking at A Card in Hand from the spectator’s perspective, can be summarised as such:

“I selected a card, it was mixed back in the deck, the magician gave me another card and it turned into the one I chose.”

This sentence describes five of the eleven steps indicated on the blueprint. The granularity of the map, i.e. the size of the steps, needs to match the spectator’s experience of the routine. There might be more steps, but people usually forget the details of what happened in a magic routine. There is no need to have a box for each change of finger position, because the spectator will not be aware of such detail. When developing a magic blueprint, always keep the spectator’s perspective in mind.

I use process maps almost daily in my non magical professional work because they are a great way to display and analyse a process. For some reason, however, it never occurred to me to use this technique for scripting magic routines, until I stumbled across Alvo’s pamphlet on the Magic Modelling Language.

Magic blueprinting, as I prefer to call it, is a useful technique to work out the details of a routine. The maps help to visualise the logistics of the routine and can assist in designing the appropriate theatrical devices required to keep the backstage hidden from the spectators. Magic blueprints also help to see a routine from the spectator’s perspective, which really is the only perspective that matters.

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The Magic of Special Effects

Just got back from watching Avatar and was blown away by the special effects. Watching it in 3D really transports you into another world; unfortunately the storyline was only one dimensional. Some aspects of the movie are truly magical in the sense that disbelief is totally suspended. Cinematographic technology has developed rapidly the past decades and they seem to be able to create almost any conceivable reality.

Magicians have much in common with cinema in that both aim to suspend the disbelief of the spectator and create an alternative reality. The objective of any magic performance is, or should be, to create a temporary reality where magic is possible. I am sure that nobody truly beliefs that the performer has magical powers and that subterfuge and deceit are used to create the illusion of magic. Many techniques are available, including advanced technology. Magicians have, however, a strange love-hate relationship with camera tricks.

At the start of almost every magic show on television, the producers emphasise that the magic is created without the use of camera tricks. They feel a need to convince the audience that the direct actions of the magician  are the cause of the magic, not through buttons pushed by a backstage technician. As a theatrical art, magic relies on the knowledge that it requires a lot of skill and any implication that technology is involved thus reduces the perceived skill of the magician. Using camera tricks is seen as the ‘easy way out’ and is not highly regarded by magicians.

This taboo is surprising, as magicians have always used the latest available technology to create magic. The father of modern magic, Robert Houdin, often used electricity and electromagnetism. This played very well for nineteenth century audiences, but contemporary viewers would not consider these effects very magical. We all know about electricity and use appliances that to the average nineteenth century visitor would seem truly magical. Science fiction writer, inventor and futurist Arthur C. Clarke created a link between technology and magic in his famous Third Law (Profiles of The Future, 1961):

Any sufficiently advanced technology is indistinguishable from magic.

Cinema is an example of magical technology. Watching the silver screen it seems as if a moving image is projected in front of us, but our mind is actually being deceived as there are 24 still images each second flickering in front of our eyes. Cinema is actually a double illusion because any film of sufficient quality will cause us to suspend our disbelief and be transported to another world.

Magicians recognised the potential of cinema very early after its invention. The Théâtre Robert Houdin in Paris was one of the first places in Paris where motion pictures were shown and French Magician Georges Méliès was a pioneer in cinema. In the early days of this new medium, two types of magic films were popular. Films of tricks show conjurers performing sleight of hand and just like the television shows of recent decades they did not use camera tricks and relied of the manual dexterity of the performer. Trick films on the other hand employ cinematic techniques to create magical effects. To the audiences of early cinema, who were not aware of the technical possibilities, there was no real distinction between these two types of films.  Méliès is well known for his trick films, such as  Les Cartes Vivantes from 1905 (watch the clip on the left) and has become famous for his Journey to the Moon, one of the first special effects feature films.

To the magicians of the late nineteenth and early twentieth century, the techniques of trick photography were just as secret as other magical methods. Méliès abhorred the exposure of his secrets in scientific journals of the day. To his audiences, he was creating real magic and his

Contemporary audiences are all very well aware of the methods used by film makers and do not regard Les cartes Vivantes in the same way as Méliès’ original viewers. Méliès has most certainly lost his battle against exposure of cinematographic secrets. Most DVDs contain features that explain how the special effects were created. You might think that magicians would never contemplate exposing their own methods to the general public, but a quick visit to any of the many online magic shops will show that any secret is for sale.

The fact that people are mystified by movies, even though everybody pretty much knows, or is able to know, the methods demonstrates that exposure of magic methods is inconsequential. Only when magic is performed as a challenge or a puzzle will the audience think more about the method than the effect. Magic, just as cinema, is a story telling art where slight of hand and other techniques are used to show the spectator a world where magic is possible.

A wonderful illustration of the close relationship between magic and cinematographic technology has been created by Swiss magician Marco Tempest. His mystical amalgam of sleight of hand magic and special effects is a masterpiece in the art of magic.

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Adelaide Magic Convention

Yesterday I got home from Adelaide after attending a magic convention. Here are some impressions of this weekend of thaumaturgy.

The two and a half day gathering of magicians and magic enthusiasts started with a Close-Up show. It quickly became clear that this would be a weekend of card tricks, more card tricks and even some more card tricks.

Magicians have a love-hate relationship with cards; well I have anyway. There are often complaints about the amount of card tricks during conventions and magic meetings, but everybody always gravitates back to them. Playing cards are the piano in the orchestra of magical props. A deck of cards is a piano with 52 keys that can be used to achieve every single effect in the arsenal of the modern conjurer. No other prop is so versatile. However, a lot of card magic is pretty boring because the performer forgets to place the props and the adventures they have into any context. Never ask a magician how magic is performed, but make sure to ask why those four aces keep assembling.

The day ended early because the lecture by Laurie Kelly lecture was cancelled and I decided to have an early night in preparation of the big day on Saturday.

The day began with the close-up competition. My personal favourite was Simon Taylor’s session. He was able to place his material in a suitable context, creating interest and also showing some good skill. The main reason I like his work is because we share an interest into adding an intellectual perspective to magic – without losing sight of the entertainment aspect.

The first lecture for the day was by American Geoff Williams. I was delighted by his presentation and am working on incorporating some of his ideas in my close-up work. He is, as he puts it himself, no great inventor of magic but works on improvements of known routines. I like his offbeat style, calling a trick I Hate David Copperfield, is a great way to attract attention to what is basically a reworked classic that performed many years ago. Unfortunately, however, he was not able to delight at his performance in the Gala Show later that night.

In the afternoon there were six performers battling it out in the stage competition. Joel Howlett presented his wholesome traditional manipulation act. He ignores the trend towards Derren Brown, David Blaine and Chris Angel type material and follows in the footsteps of Cardini and Fred Kaps. Magicians appreciate this type of material because they respect the amount of skill involved. Almost every magician has at some stage practised front-and-backpalming cards, but not many (including myself) have the guts to perform this type of material because it is so hard.

Magicians work extremely hard to hide half of their performance from the audience. Some of the most demanding actions take place while the attention of the spectator is diverted away from the action. However, some really good magic can be performed that barely requires any complicated sleight of hand. One of my favourite card routines I perform at the moment is a souped-up version of the 21-Card Trick. This classic is the first card trick that many people learn and magicians usually loathe as not being deceptive enough. But, the amended version I use requires almost no sleight of hand and get greats reactions when I perform it. Why spend time learning  second dealing, Faro shuffles and other complicated stuff when people can be amazed by the simplest tricks, using nothing but a good script.

I also met an anthropology student with an interest in theatrical magic. We discussed the possibility of writing an ethnology of magic world. To an outsider, a meeting of magicians sounds like a very strange thing indeed. Magicians have their own rituals (initiations and the broken wand ceremony springs to mind) and their own rules of behaviour, specially regarding secrecy.

Second lecture for the day was by English children’s entertainer Terry Herbert. He first showed his well known children’s act, for which a small group of kids was invited. After his performance he talked about his ideas on entertaining children. It was great to hear somebody with decades of experience talk.

I bought his DVD on performing magic for children under five. It is quite difficult to do this because to a child under the age of five everything is magic. Their minds have not yet been conditioned to know that certain things are impossible. A simple game of peekaboo is a magical event for a baby. Most illusions created by magicians are cognitive illusions, i.e. the brain gets tricked into assigning wrong causal relationships to what the eye perceives. But, the brain needs to be trained first to understand what normal causal relationships are and that takes a few years.

Magic without deception

Magic without deception.

Day two ended with a Gala Dinner with performances from four magicians. The two highlights of the Gala Dinner were a Belgian contact juggler who creates visual magic with with perspex balls and Raymond Crow’s famous hand shadows show. It became apparent to me that both in performances magic is created without using deception. This is interesting to note because as I wrote above, magicians hide most of the effort that is required to create illusions, while in these two cases, all the ffort is shown in full view.

Geoff Williams spoke in his lecture about the fact that magicians are basically liers. Ricky Jay was recently interviewed about lying and mentions Jerry Andrus, a magician who never lied in his performances. When he said: “I will place this card in the middle of the deck” than this was always a true statement. In almost all magic, lying is a regular occurance. But when creating magic without deception there is no need to lie and no need to hide most of the work required to create the magic.

The last day started with a church service. This is the first convention I have attended where a Church Service was on offer on Sunday morning. None of the attendants I spoke to took up the offer so I wonder how many people attended. Those who have read more of my blog know my a-religious stance. But come to think of it, there are very close links to magic and religion and anthropologists still have a hard time distinguishing one from he other. Magic and religion share the same origins – nevertheless I gave the church service a miss.

My last session for this convention was the Paul O’Neill lecture about the marketing of magic. When he started to explain in detail how to create a website, I left the room and made my way to the airport to catch our flight back to Melbourne.

In an earlier Facebook/Twitter post I wrote that the convention was not so inspiring. Well, maybe not from a magical technical point of view, but I guess the above post shows that magic never fails to inspire. To share some of the wonder I experienced when watching Raymond Crow, here is a Youtube video of his hand shadows.

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Zombie Strippers

“Great tits huh? Yes, but what does it mean?”

Last year I watched Zombie Strippers with a few friends and was amused by its extravagant combination of nudity, gore and philosophy. Some might consider this a pretentious B-movie, but that assumes that the philosophical content of this flick are mere sound bites and not a coherent philosophical statement. In this post I will argue that Zombie Strippers is a celebration of life by demonstrating that our fear of death is irrational.

The mood of the movie is set when a scientist, watching a group of rampaging zombies in a laboratory, says: “Behold, a pale horse”. This quote is taken from The Book of Revelation (6:8): “And I looked, and behold a pale horse: and his name that sat on him was Death …” (emphasis added). In the great tradition of zombie movies, this is a story about the survival of the human race. Four Canadian students have recently described the mathematics of zombie attacks and conclude that: “it is imperative that zombies are dealt with quickly, or else we are all in a great deal of trouble.” At last, the central theme of all great zombie movies has been scientifically proven.

The scientists’ motivation for developing a virus that “reanimates dead tissue and jump starts the brain’s motor function”, turning people into zombies, is that “after one experiences death, fear is more or less gone” and soldiers can become super soldiers.

Fear of death is a leading motivation in human life and controls our behaviour more than anything else. Being able to foresee the future and realise that we will all one day die is a basic aspect of the human condition. Many see death as the greatest evil, preventing anything in life from being meaningful. After death nothing matters any more and there is thus no point to life as everything we achieve will disappear and become meaningless.

Roman philosopher Lucretius argued 2000 years ago that fear of death is irrational. He assumes that past and future are symmetrical and that as such, not being born and being dead are equivalent. Not being born can not be feared so, if not being born and being dead are equivalent that there is nothing to fear in death.

The argument brought forward in Zombie Strippers is similar to that of Lucretius. Those whose become zombies are effectively dead and alive at the same time. They have thus no more fear of death and can live life to the fullest.

Kat, played by former pornstar Jenna Jameson, is reading The complete works of Nietzsche and quotes to her fellow exotic dancers from Fröhliche Wissenschaft (Gay Science):

“All great things must first wear terrifying and monstrous masks in order to inscribe themselves on the hearts of humanity.”

A typical Nietzsche quote that some people might see as an implicit endorsement for tyranny. Kathleen Higgins tries to explain Niezsche’s statement as an attempt to humour – but she needs to work very hard at explaining the joke. In the context of Zombie Strippers, I think this quote relates to our fear of death. The idea of dying is “terrifying and monstrous”, but those who have died and subsequently become zombies and are able to tell us about their feelings, fear death no longer.

After Kat has become a zombie, she sits in the dressing room and reads Nietzsche again. Laughing out loud she says: “It makes so much more sense now … I never felt more alive”. She then goes back on stage and performs for the crowd, whipping them into a frenzy.

Second stripper to become a zombie is Lilith. When she is asked what death feels like, she says:

“… I remember once lying in the snow under a clear blanket of stars, there were so many stars. Couldn’t comprehend what it was like; a vast and noble void. But now, I understand it. I feel I am a part of it, that infinite nothingness. … Death is good!”

Lilith has in her mind solved an existential problem because she is dead. As living people we often fear the nothingness that is the universe. Some try to fill the void with religion, but that is another discussion. The movie shows that by removing the fear of death, the fear of nothingness is removed.

To counterpoint Lilith’s assertions, when another stripper, who is not a zombie stripper goes on stage the audience does not like her. Only after she has been turned into a zombie and has shed her fears, she is popular with the punters again.

One after another, the strippers of the Rhino club decide to succumb to the zombies and become un-dead in order to approve their appeal to the men. As in any zombie flick, the situation gets out of control and zombies appear everywhere.

Our ability to add meaning to life is closely related to our attitude to death. Eugene Burger writes that death is what gives live urgency because none of us have forever to achieve our ambitions. If there was no death, life would be meaningless. To use a well known Nietzsche quote in slightly changed form: What does kill us makes us stronger.

As I am writing this I am enjoying a break in Port Douglas, Australia. Walking around town I found some graffiti, perfect to close this post:

“Zombies are also people”

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Strategic Management and Serendipity

Life is unpredictable and much of human culture is in essence a means to deal with the unpredictable. We can not know whether the next harvest will fail, whether we still have a job next year or when we will die. Ancient systems, such as astrology and other forms of divination were developed to reduce uncertainty in people’s lives. After the era of enlightenment, divination was replaced by science and we now rely on weather forecasters, medical professionals, engineers and other professionals to provide information to help us plan our lives.

What is true for life in general is also true for managing an organisation. An organisation is a group of people that are bound together through a common goal. To increase the likelihood that organisations achieve objectives, they require management, i.e. actions of members of the organisation aimed at reducing uncertainty. One of the greatest uncertainties in business is the existence of competitors and their intrinsic unpredictable actions. Strategic management is a specific kind of management that seeks to reduce this uncertainty.

In this essay a taxonomy of Schools of Thought in strategic management, as proposed by Henry Mintzberg (1990; 1999), is described. The distinction between prescriptive theories, such as those propounded by Igor Ansoff and Michael Porter, and descriptive schools of strategic thinking are discussed. It is argued that an organisation can not rely solely on formal prescriptive systems to develop and implement strategy and that an integrated approach is required to act strategically and increase the chances of success.

Socially constructed phenomena, such as religion, culture and management are notoriously hard to define. This is certainly the case for business strategy and although many scholars have applied their intellect to this problem, no consensus has thus far emerged (Forster and Browne 1996; Mintzberg 1987). The most productive approach has been to move away from essentialist “Strategy is . . . ” type definitions that attempt to capture strategy in one quintessential sentence. Mintzberg (1987) criticises the reductionist approach to strategy definition by comparing it with a group of blind scientists describing an elephant by touch alone. One says it is a  trunk, the other might focus on the legs, but nobody is able is to describe the elephant as a whole. To circumvent perceived issues with essentialist definitions, a phenomenological view, describing different perspectives of strategic thinking in a model or taxonomy is preferred.

Several authors have proposed systems to classify strategic approaches for business. For example, Igor Ansoff (1987) defined a matrix of four generic strategies and Michael Porter (1980) defined three generic strategies to achieve competitive advantage.

Igor Ansoff, often credited as the Father of Strategic Management, started his career as a mathematician and later moved into the field of management (Hussey 1999). Mintzberg credits Ansoff as being instrumental in the development of the Planning School (Mintzberg and Lampel 1999). Being trained as a mathematician, it is not surprising that Ansoff’s strategic thinking revolved around structure and order. The subtitle of the first edition of Corporate Strategy was “An analytic approach to business policy for growth and expansion” (Ansoff 1987). The process of strategy formulation is, according to Ansoff, not a creative activity but a formal one, consisting of distinct steps supported by checklists and other control techniques (Mintzberg and Lampel 1999). Ansoff published a great deal on turbulent and discontinuous change (Hussey 1999). But Ansoff, thinking like a mathematician, sought to control the unpredictability of the external environment with checklists, budgets and operating plans. The reality he thus sought to control is, however, not physical and predictable, but social and therefore less likely to be controllable through analytic means.

Almost two decades after Ansoff published his first ideas on strategic management, Michael Porter came on the scene and quickly attained the status of management guru. In his book Competitive Strategies, Porter (1980) argues that only three strategies exist which provide opportunities of success. The differences between these strategies are in the strategic advantage sought from either cost or differentiation and the target aimed at (Speed 1989). Mintzberg and Lampel (1999) place the work of Porter in the Positioning School, a prescriptive view on strategy popular in the 1980s. In Porter’s view, strategy can be reduced to generic position taking based on formal analysis of the external environment. Because of the intuitive appeal of Porter’s work, it quickly picked up by management consultants, who proclaimed it to be a scientific truth (Mintzberg and Lampel 1999). One often heard criticism to Porter’s work is, however, that it is lacking in empirical support, using selective case studies to make his point (Speed 1989).

Henry Mintzberg employs a more philosophical approach when he classifies strategic business thinking in ten Schools of Thought (Table 1), which he describes in their historical and ideological context. Early theorists, such as Igor Ansoff, focused on the analytical aspects of strategy formation. The first three schools in Mintzberg’s taxonomy are therefore prescriptive and focus on how strategy ought to be formulated. On of the major premises of the prescriptive schools is the ‘Performance Claim’, which states that the more an organisation engages in systematic strategic planning, the more likely it will result in above average returns. The prescriptive schools have been influential in the discourse of strategy formulation, but have failed to explain the process of strategy execution (Mintzberg 1990).

Later developments in strategic management literature moved away from the prescriptive approaches modelled on quantitative exact sciences and their inherent presumption of a controllable world. The descriptive schools of thought are inspired on the qualitative social and cultural sciences and study what businesses actually did to be successful in order for other organisations to learn from their approaches. The descriptive schools move from a focus on a-priori strategic planning to a-posteriori dynamic strategy formulation and execution. For practitioners, the prescriptive schools of thought are very attractive, illustrated by the ubiquity of tools such as SWOT analysis and generic strategies, such as those developed by Ansoff (1987) and Porter (1980). The descriptive schools are somewhat problematic for practitioners of strategic management because they do not provide straightforward recipes for success. Analogous to the Naturalistic Fallacy in moral philosophy, where an ought can not be derived from an is, the descriptive schools (strategy as an is) are not very suitable for managers to determine what strategic decision ought to be made. The question raised by Mintzberg’s taxonomy of strategic thought and other similar taxonomies is how average practitioners can determine what strategy they should employ.

One of the major premises of the prescriptive schools of strategic management thought is the Performance Claim, which can be formally expressed as: “Strategic planning, on average, has a positive impact on company

performance” (Hill et al. 2004: 23). Miller and Cardinal (1994) investigated how firm size, capital intensity and environmental turbulence influences performance in firms with different degrees of formal strategic planning. They found that correlations between planning and business results show a fairly large fluctuation (−0.30 ≤ r2 ≤ 0.71), but are skewed towards positive performance. They also concluded that stronger planning-profitability correlations emerge when firms face turbulent environments (Miller and Cardinal 1994). Rogers et al. (1999) investigated whether the relationship between strategic planning processes and organisational performance depends on the content of the strategy pursued and not just the extent of planning. They concluded that formal strategic planning positively influences company performance, as expressed in the Performance Claim. Miller and Cardinal (1994) also support the Performance Claim but argue that companies typically only realise 63% of the potential value of their strategy because of defects in planning and execution. They provide a list of possible causes of performance loss, but do not seem to recognise that unpredictable events can negatively influence performance and imply that any strategy can be realised, as
long as planned and executed appropriately.

However, some academics question the idea that formal strategic planning systems are a sufficient condition to improve company performance and argue that luck and serendipity play a critical role in determining competitive advantage (Mintzberg 1979; Hart 1992; Hamel 1996). This criticism is supported by the fact that that the prescriptive view of strategy formation contains a logical inconsistency. In prescriptive schools,  strategy is often defined as the actions a company takes to attain superior performance (Hill et al. 2004). However, when strategy is thus defined, the Performance Claim becomes a tautology: “Actions taken to attain su-
perior performance, on average, have a positive impact on company performance”.

Another issue with prescriptive schools of thought is the presumed causality from plan to action to success. The definition of strategy discussed above expresses an intent (“Actions taken to attain . . . ”). This intent does, however, not imply a causal link between planning an action and success. Hamel (1996) argues that strategic planning, as practised in business management, is not strategic at all. He claims that strategy development tends to be a reductionist process, based on simple rules and heuristics, working from the present to the future, rather than the other way around. The strategic planning process is largely extrapolative and it is assumed that the future will resemble the past, an assumption that David Hume has shown to be irrational. Hamel therefore emphasises the creative aspects of strategic management and points out that it is not a rote process that can be instrumentalised in neat systems, such as SWOT diagrams and generic strategies. Strategy is in the view of Hamel (1996: 71) a “quest that must be a subversive revolution to improve company performance”.

Logical analysis of the principles of the prescriptive schools of strategic thought shows them to be invalid because the Performance Claim is tautological. However, the empirical fact of the Performance Claim holds at least some truth remains. This seeming contradiction emerges because the relationship between planning and organisational success is more complicated than was assumed in the research. Firstly, the research only used companies still in existence, leaving out those that did employ strategic planning but nevertheless failed. Secondly, without conducting fully controlled studies it is near impossible to prove causality between
planning and success. A positive correlation does not imply that planning is the cause of business result.

Hart (1992) summarises the discourse between proponents of strict formal planning and those that stress the limits of this approach. He refers to formal planning as the rational model for strategy formulation. The rational model advocates to consider all available alternatives, identify and evaluate all of the consequences of each alternative and then select the preferred alternative. Researchers challenging this approach argue that organisations can achieve only limited rationality because of individual cognitive limits, heuristics and biases in human judgement (Forster and Browne 1996).

The process of strategy formation is, according to Mintzberg (1979), the interplay between the formal intended strategies and informal emergent strategies, mediated by leadership. He emphasises that strategy is not a fixed plan, nor does it change systematically at prearranged times at the will of management. Mintzberg also emphasises the unpredictability of the external environment. An organisation can find itself in a stable environment for long periods of time, without the need to change its strategy. Sometimes the environment can, however, become so turbulent that even the best planning techniques are useless because of the high level of unpredictability (Mintzberg 1979). This seems to contradict the finding of Miller and Cardinal (1994) that stronger planning-profitability correlations emerge when firms face turbulent environments. This is not unexpected as those companies that succumbed to the turbulent environment were not included in the research. This leaves the question whether to follow prescriptive or descriptive schools of thought open. The most productive answer is that strategic management is a complex synergy of a-priori intended and a-posteriori emergent strategy and positive company performance is brought about by a combination of both. Thus,
although formal planning is not a sufficient condition to obtain superior company performance, it is most certainly a necessary condition.

Research into strategy formulation has resulted in a plethora of strategic management theories. The fundamental differences between individual theories and the fact that they come and go in quick succession, supports the claim that there is no firm scientific basis for theories of management (Miller and Cardinal 1994). Strategic management theory is an eclectic field with contributions from military history, engineering, industrial economics, organisational sociology, behavioural, cognitive and social psychology, anthropology and political science (Forster and Browne 1996). Strategic management is thus more aligned with social sciences
than the exact sciences and as such needs a methodology suiting the unpredictability of human behaviour, rather than a rational model, feigning predictability.

Management deals with human beings and their social interaction and both the external and internal environment are in a constant state of flux. Strategy will only improve performance if its formulation takes the fundamental unpredictability of the world into account. Strategy can not be formulated through rational systems that model the real world. Formulating strategy is a continuously developing ‘narrative’ between the organisation and the external environment.

Strategic planning as a means to reduce uncertainty in organisations is a young science in which many different perspectives have been explored. Following a taxonomy based on descriptive and prescriptive strategic management, it has been shown that a formal planning approach by itself can not cause a company to achieve above average returns.

Although empirical research points towards a positive correlation between strategic planning and company performance, these studies suffer from methodological problems. This does, however, not imply that strategic planning as a formal exercise is futile. Formal strategic planning is vital for prudent management. Not as a means to define the course for years ahead, but as a way to be able to anticipate the unpredictability of external influences.

References

Ansoff, Igor (1987) Corporate strategy. London: Penguin Business

Forster, J. and Browne, M. (1996) Principles of Strategic Management, chap. The evolution of strategic management thought. Macmillan, 21–50.

Hamel, Gary (1996) ‘Strategy as revolution’. Harvard Business Review (July–August): 69–82.

Hart, Stuart L. (1992) ‘An integrative framework for strategy-making processes’. Academy of Management Review 17(2): 237–351.

Hill, W.L., Jones, Gareth R. and Galvin, Peter (2004) Strategic management: An integrated approach. Milton: Wiley.

Hussey, David (1999) ‘Igor Ansoff’s continuing contribution to strategic management’. Strategic Change 8(7): 375–392.

Miller, C. Chet and Cardinal, Laura B. (1994) ‘Strategic planning and firm performance: a synthesis of more than two decades of research’. Acadamy of Management Journal 37(6): 1649–1665.

Mintzberg, H. (1987) ‘The strategy concept I: Five Ps for strategy’. California Management Review 30(1): 11–24.

Mintzberg, Henry (1979) ‘Patterns is strategy formation’. International Studies of Management and Organisation IX(3): 67–86.

Mintzberg, Henry (1990) ‘Strategy formation: Schools of thought’. In James W. Frederickson, ed., Perspectives on strategic management. Harper Business, 105–235.

Mintzberg, Henry and Lampel, Joseph (1999) ‘Reflecting on the strategy process’. Sloan Management Review 40(3): 21–30.

Porter, Michael E. (1980) Competitive strategy. Techniques for analyzing industries competitors. New York: The Free Press.

Rogers, Patrick R., Miller, Alex and Judge, William Q. (1999) ‘Using information processing theory to understand planning/performance relationships in thecontext of strategy’. Strategic Management Journal 20(6): 567–577.

Speed, Richard J. (1989) ‘Oh Mr Porter! A Re-Appraisal of Competitive Strategy’. Marketing Intelligence and Planning 7(5): 8–11.

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