USDALL THAT IS LOST
“Fraser has been on a role recently and ALL THAT IS LOST continues with this trend. I’ve always loved everything Fraser released in the past but lately I feel he’s reached a higher level. This release contains various tools and methodologies which are only limited by your imagination and will help elevate your performances to levels you never thought possible.” – Matt Overd
“Beautiful … it is the illusion of choice that I really like about it.” – Ross Bartels (on the colour force)
ALL THAT IS LOST is a hardback book containing a collection of prop-less tools, concepts and effects from the mind of Fraser.
It includes his never before seen work on what is known as a BRACELET CODE or DE BRUIJN CYCLE.
The performer verbalises a list of items from the subconscious mind of the spectator. The spectator chooses a few of these items then further narrows down their choice by merely focusing on whichever item stands out to them. There is no process other than the spectator focusing their conscious mind on items of their choice, yet with this method which utilises only a few lines of scripting, the performer is always able to know which item has been chosen by the spectator.
Yes, it really is that simple!
This older principle which would usually rely on the use of business cards has been adjusted and optimised for use within the prop-less genre, so that you are able to always effortlessly guess whatever the spectator is focusing on, without any props. This can be used to guess thought of objects, drawings, emotions, memories, colours, numbers and more …
Fraser teaches how to use this breakthrough prop-less application of binary to perform a version of Art Vanderlay’s THOUGHT TREE memory divination, without any questions needing to be asked.
It can also be used in reverse to create a spectator as mind reader effect or as a way to force specific items. This is a sure fire solid prop-less method that works based on a hidden mathematical principle.
In this limited book Fraser also teaches his updated scripting and expanded work on his EYE CLOSE CUES. This will allow you to get two pieces of information for the price of one, within the same visualisation process. It can be used as a tool to gain leverage in many different routines or performed as a stand alone effect, due to the structure and its built in scripting.
The basic use for this is a star sign guess. However, other effects are possible.
You instruct the spectator to close their eyes and visualise whichever colour out of red or blue is relevant to their sign under the guise of the spectator working out their aura colour. This can be based on whether they were born in a warmer or colder season (or a different label can be applied for better accuracy). They then mix their thought of colour with the colour yellow, if this is applicable to their sign. They visualise their thought of colour then open their eyes. You will now automatically know their thought of aura colour and be able to guess their star sign, without the spectator ever having said a word.
Fraser prefers to use the primary colours as a mental colour palette, where the spectator either focuses on a single colour or mixes two together, as a way for him to gain access to other thoughts. However, any labelling can be used providing the spectators can visualise this information with their eyes closed.
This is a completely silent way to obtain information utilising hidden cues. The subtle use of language does all of the work for you and ensures everything stays hidden via perception. It looks like you simply ask the spectator to close their eyes and focus on whichever aspects of their thought are relevant and then as soon as they open their eyes, are able to know all of the information they were just focusing on.
There is also an ingenious way to force specific colours entirely prop-less included in this work. The performer creates the illusion that the spectator could think of any colour by either focusing on one of the primary colours or mixing two colours together to create a secondary colour. They appear to have a completely free choice. Even so, their choice is subtly controlled by the specific words and scripting you use. It is the apparent freedom of choice created by your language and seemingly open and fair selection process that does all of the work for you. This is a beautifully elegant solution which has been streamlined as much as possible to allow it to fly right past those who watch you perform. Everyone is fooled and everything looks as it should. It is a great utility method. You can either reveal the thought of colour or use it as a building block to reveal or force other thoughts.
It allows you to perform a similar effect to Matt Mello’s wonderful PYSTEM ONE effect, without the need for you to memorise anything.
The performer lists objects that have different colours and instructs the spectator to focus on whichever object relates to their thought of colour and is able to subsequently guess the correct colour and object.
He also teaches his updated PIGS MIGHT FLY routine which utilises a more streamline, theatrically sound version of the force. This will allow you to create various different spectator as mind reader routines where the spectator can guess whatever information you have written down ahead of time. There are no switches or secret writing and the prediction can even be left with the spectator throughout the entire performance. Even with these restrictions, the spectator will still be able to successfully guess your actual star sign, the name you are focusing on, as well as pin numbers and other thoughts from different categories.
Fraser also shares his latest version of PERFECT EQUIVOQUE with a deck of cards, a number force and more.
