Performing magic is most effective when the magician minimizes their own presence to highlight the spectator's reaction.

“and what I realized was like less is more the less there is of of me the more there is of of the person that I'm doing magic to I'm jumping a little bit because I also know that later on you went to the neighborhood Playhouse yeah which is in Sandy Meisner technique which is a little bit of what you”

Dynamo describes magic as an experiential feeling of wonder that can positively impact others.

“for me magic is a feeling it's something you experience in your body when you witness something that you can't explain or when you see something that feels impossible but feels like unobtainable right putting a smile on someone's face is a magical thing”

Larry Wilmore views performing magic as a way to elicit a reaction of wonder from an audience that is different from and not available in other experiences.

“I perform at the magic castle and that's it's a cousin to standup but it's different because you're getting a reaction of wonder from the audience and this different thing that you don't get from any other thing.”

Magic tricks rely on a contract with the audience where the observer accepts that what they are seeing is not real, whereas mentalism functions as a pure art with no visible gimmick.

“most of us when we watch a magic trick, since we've been young and we kind of first experience magic, we know that what's happening isn't real.”

The enjoyment of magic comes from the tension between being amazed and attempting to figure out the secret behind the trick.

“the fun of magic is partly being amazed the fun of magic is also partly figuring it out if you can”

Magicians exploit the same cognitive gaps and neural shortcuts that we rely on for everyday functioning.

“magicians are not using any type of neural Pathways that we don't use otherwise so they're they're sort of hacking into our brains but so do all artists”