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by **kolm** » Jul 23rd, '11, 19:28

I love Osterlind's bend. I've never seen it before, but it's so clean, I love it. Does anyone know if it's available to buy or does he keep it secret?

by **Duplicity** » Jul 23rd, '11, 19:57

kolm wrote:I love Osterlind's bend. I've never seen it before, but it's so clean, I love it. Does anyone know if it's available to buy or does he keep it secret?

It has been revealed by some sour mentalists who claim it is their method and not his etc, but never published, I believe. It is unlikely to be published, and even if it were, you wouldn't go to the trouble to perform it.

by **kolm** » Jul 23rd, '11, 20:36

OK, thanks!

by **Arkesus** » Jul 24th, '11, 01:47

My thinking on this, ok. Having seen no end of coin bends over the years, and extremely convincing methodology of narrowing down the choices of coins down to just one, the end result is that same "is that it?" look on the spectators face as one single phrase passes through their head.

"He just swapped it while I wasn't looking"

That right there, to them, explains it all. No appreciation for the actual skill involved with you actually managing to swap out any item right under their noses without them catching you, to them, it is all explained by that. And it's not just coin bends. Card to impossible location, torn and restored card, If they can think that you have more than one of the item, that's all they need, and the reaction will be muted.
Eliminate the idea that you could possibly have another of them. My proof of this is after having the coin signed, I have lost count of how many times I have heard "but he couldn't have had another, it's my signature." or words to that effect.

This is of course personal opinion that a signed coin bend is a better effect to a layperson than an unsigned coin bend.

by **jim ferguson** » Jul 24th, '11, 02:50

Isnt this simply down to presentation ? Derren Brown mentions a similar concern in Pure Effect regarding the Cigarrette Through Coin. His solution makes a switch seem impossible.

Its not that im against signing in this effect, its just i dont feel its necessary. I got some great reactions from the simple switched/unsigned method. I did amplify the fairness though by making my moves slow and deliberate. The original coin was slee**d early on in the routine, and because the bend in the coin was just slight it allowed a fair bit of freedom to keep it in view. I did hear some daft explainations but a switch was never one of them.The greatest metal bender of them all, Uri Gellar, never signed anything before he bent it. He frequently signed things after he'd bent them, but never before.

jim

by **jim ferguson** » Jul 24th, '11, 17:03

Forgot to say, while i agree with you that certain effects like card to impossible location requires a signature, i wouldnt say that a coin bend falls into this category. A duplicate is the most logical explaination because the card vanishes and is next seen in another location, so a signature is important. However if your delivery of a coin bend is such that it is clear there is only one coin in play, and that the coin is (apparently) never out of their view, then the idea of a switch should seem impossible.

Of course its entirely your call. For me personally though, I dont feel a signature is necessary for a coin bend.jim

by **Duplicity** » Jul 24th, '11, 17:46

Arkesus wrote:No appreciation for the actual skill involved with you actually managing to swap out any item right under their noses without them catching you, to them, it is all explained by that.

This is of course personal opinion that a signed coin bend is a better effect to a layperson than an unsigned coin bend.

You should buy Psyche, the person signs their coin and you bend it. But the routine requires no gimmicks. Just presentation, psychology and well thought out routining.

I don't really understand your first paragraph, as punters shouldn't even be away of any kind of swapping. Therefore, no appreciation.

by **Arkesus** » Jul 24th, '11, 23:54

Duplicity wrote:I don't really understand your first paragraph, as punters shouldn't even be away of any kind of swapping.

They shouldn't see you if you actually do it, because that means you aren't doing your job of misdirecting them well enough. But we as performers shouldn't assume that they are too stupid to think that we might have done it at some point.

It's often the first explanation they come up with, and for them it's solid enough to explain how you did it. Regardless of how incorrect they may be, it's not like you can actually tell them that. They go away thinking they know how you did it.

This won't be true of everyone, but I'll be damned if I don't see it on a heck of a lot of people. But as I say, if it's got their signature on it (not mine, cos again, could have plenty of those) they immediately give up that as an explanation, and then they are lost. And then, for that moment, they are in the position that I always try to get people to, even if it is just for a second.
Giving them permission to question the reality they just experienced, because they know with every part of their being, that it is not possible, and they should not have ever been witness to that event taking place through the natural course of their lives.

by **jim ferguson** » Jul 25th, '11, 00:22

Arkesus wrote:They shouldn't see you if you actually do it, because that means you aren't doing your job of misdirecting them well enough. But we as performers shouldn't assume that they are too stupid to think that we might have done it at some point.

It's often the first explanation they come up with, and for them it's solid enough to explain how you did it. Regardless of how incorrect they may be, it's not like you can actually tell them that. They go away thinking they know how you did it.

This won't be true of everyone, but I'll be damned if I don't see it on a heck of a lot of people. But as I say, if it's got their signature on it (not mine, cos again, could have plenty of those) they immediately give up that as an explanation, and then they are lost. And then, for that moment, they are in the position that I always try to get people to, even if it is just for a second.
Giving them permission to question the reality they just experienced, because they know with every part of their being, that it is not possible, and they should not have ever been witness to that event taking place through the natural course of their lives.

by **Arkesus** » Jul 25th, '11, 01:14

Thank you Jim, I have my moments.

by **Samba** » Sep 17th, '11, 17:30

Marc Spelmann has a very good impossible looking coin bend on his DVD. The only thing is that it requires some skill to pull it off. Its totally invisible though. You can't see a switch happening at all.

I like how Richard performs his coin bend just as he performs his spoon bend. the matrix hit he does in the air and staring at the coin looks real.

I'd love to add a coin bend to my repertoire, but I'm not in a hurry.

by **MrTetley** » Sep 17th, '11, 22:16

I would definitely recommend coinvexed 2.0 by David Penn. I've personally found the routine David uses on the DVD works really well. Ive had some great reactions.

by **Samba** » Sep 18th, '11, 01:19

Does anyone perform the one taught in Paralies ??? People are praising it on other forums, also psyche by andrew gerard ?

by **Lenoir** » Sep 18th, '11, 10:56

I don't perform psyche, but I came up with my own method for bending a signed coin without gimmicks. It is apparently very similar to Gerard's method, except I believe the final image in mine is a lot cleaner...however, the method is more difficult.

by **Samba** » Apr 23rd, '12, 17:44

I came up with a thought that I'd like to share.

If you start off by doing some silverware bending first ( which is visual and looks real. Think: Osterlind ), and then do an unsigned coin bend, it will look very believable. Then follow it up with more silverware bending which enhances the idea that you have really bent everything from coins to silverware.

It kind of serves as a "logical disconnect" in a way or another, since even if they could figure out a way to do the coin bend, the visual silverware bending looks real, and so, the whole thing should be real I guess. In other words, there's still impressiveness to your bending abilities. Oh and also adding the visual coin bending technique ( which Osterlind and Spelmann use ) enhances the coin bending procedure.

Just a thought

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