Retention of Vision Vanish

In the retention of vision vanish, the magician places a coin or small object between the fingers and the thumb of the right hand. The left hand is palm up with the palm slightly tilted towards the audience. The right approaches and displays the object on the left palm for a second or so, held on opposite sides of a diameter. Then the right hand moves away empty as the fingers of the left hand close over the object. After a brief pause the left hand is shown empty and the coin has disappeared. In some versions the right hand can also be seen empty, leaving no clue as to where the coin went.

Originally attributed to Nelson Downs, a famous magician from the late Victorian and Edwardian eras who specialised in coins, the vanish has been improved by Dai Vernon and many other 20th-century magicians who all added variations to improve the original concept that an object displayed for a short length of time leaves an image on the retina that may persist for a further short time after the object has actually disappeared.

Read more about Retention Of Vision Vanish:  See Also

Famous quotes containing the words retention, vision and/or vanish:

    Unless a group of workers know their work is under surveillance, that they are being rated as fairly as human beings, with the fallibility that goes with human judgment, can rate them, and that at least an attempt is made to measure their worth to an organization in relative terms, they are likely to sink back on length of service as the sole reason for retention and promotion.
    Mary Barnett Gilson (1877–?)

    To me this world is all one continued vision of fancy or imagination, and I feel flattered when I am told so. What is it sets Homer, Virgil and Milton in so high a rank of art? Why is Bible more entertaining and instructive than any other book? Is it not because they are addressed to the imagination, which is spiritual sensation, and but mediately to the understanding or reason?
    William Blake (1757–1827)

    The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.
    Freya Stark (b. 1893–1993)