Richard Wiseman's Blog

A few months ago, I was invited to present a series of events at FISM — often referred to as the Olympics of Magic. It’s a gathering of over 2,500 magicians from around the world, featuring days of intense magic competitions alongside workshops, lectures, and performances. This year, the event was organised by my friend Walter Rolfo, who kindly asked me to deliver a lecture, interview several well-known performers — including quick-change artist Arturo Brachetti, Luis de Matos, Mac King, and Steven Frayne — and also stage my show Experimental.

It was an incredible week. Magic is a small, strange, and tightly-knit community, and it was a joy to reconnect with people I hadn’t seen in years. One highlight was a great workshop on acting and magic by actor Steve Valentine. Steve and I first crossed paths back in 1983 when we were both competing in The Magic Circle’s Young Magician of the Year. Neither of us won; that honour (quite rightly) went to Richard Cadell—now a regular performer alongside Sooty and Sweep.

My show Experimental is somewhat unusual because there’s no performer. Instead, the audience takes part in a series of illusions and psychological experiments by following prompts on a large screen at the front of the room. Each show is different and shaped entirely by the people in the room. I sit quietly at the back, guiding the experience by choosing the order of the material.

The idea for Experimental came to me years ago, as I was thinking about why magicians perform. It struck me that if a performer genuinely wants to entertain their audience, their words and actions tend to come from a place of generosity. As I like to say, their feet will be pointing in the right direction and so any steps that they take will tend to be positive. But if they come on stage purely to feed their own ego, the audience take second place and the show usually suffers. Removing the performer entirely forced me to design an experience that prioritises the audience from start to finish.

After each performance at FISM, we held a Q&A with the audience. Time and again, I was reminded of something the legendary illusionist David Berglas once told me. One night we were flipping through an old photo album when we came across a picture of him, aged about eight, putting on some kind of show. I asked if it was his first performance. He paused and said, “No. That wasn’t a performance—that was me showing off.”

Curious, I asked him what the difference was. His answer has always stuck in my mind: “Performing is for the good of the audience. Showing off is for the good of the performer.”

I have always thought that there was an interesting life lesson there for everyone, and it was nice to spend many a happy hour chatting about the idea at the amazing and unique event that is FISM.  

I am going to perform a new show at the 2025 Edinburgh Fringe Festival called ‘The World’s Most Boring Card Trick.’

The show has its roots in the notion that creativity often comes from doing the opposite to everyone else. Almost every Festival performer strives to create an interesting show, and so I have put together a genuinely dull offering. Because of this, I am urging people not to attend and telling anyone who does turn up that they can leave at any point. Everyone who displays extraordinary willpower and stays until the end receives a rare certificate of completion.  Do you have what it takes to endure the show and earn your certificate?  

I have identified the seven steps that are central to almost every card trick and devised the most boring version of each stage. Along the way, we explore the psychology of boredom, examine why it is such a most powerful emotion, and discover how our need for constant stimulation is destroying the world.

It will seem like the longest show on the Fringe and success is an empty auditorium. There will only be one performance of the show (20th August, 15.25 in the Voodoo Rooms). If you want to put your willpower to the test and experience a highly unusual show, please come along!

As ever with my Fringe shows, it’s part of PBH’s wonderful Free Fringe, and so seats are allocated on a ‘first come, first served’ basis. I look forward to seeing you there and us facing boredom together.

Around 2010, psychologists started to think about how some of their findings might be the result of several problems with their methods, such as not publishing experiments with chance results, failing to report all of their data, carrying out multiple analyses, and so on.

To help minimise these problems, in 2013 it was proposed that researchers submit their plans for an experiment to a journal before they collected any data. This became known as a Registered Report and it’s a good idea.

At the time, most psychologists didn’t realise that parapsychology was ahead of the curve. In the mid 1970s, two parapsychologists (Martin Johnson and Sybo Schouten from the University of Utrecht) were concerned about the same issues, and ran the same type of scheme for over 15 years in the European Journal of Parapsychology!

I recently teamed up with Professors Caroline Watt and Diana Kornbrot to examine the impact of this early scheme. We discovered that around 28% of unregistered papers in the European Journal of Parapsychology reported positive effects compared to just 8% of registered papers – quite a difference! You can read the full paper here.

On Tuesday I spoke about this work at a University of Hertfordshire conference on Open Research (thanks to Han Newman for the photo).

As part of the talk, I wanted to show a photograph of Martin Johnson, but struggled to find one. After several emails to parapsychologists across the world, my colleague Eberhard Bauer (University of Freiburg) found a great photograph of Martin from a meeting of the Parapsychological Association in 1968!

It was nice to finally give Martin the credit he deserves and to put a face to the name. For those of you who are into parapsychology, please let me know if you can identify any of the other faces in the photo!

Oh, and we have also recently written an article about how parapsychology was ahead of mainstream psychology in other areas (including eyewitness testimony) in The Psychologist here.

I am a big fan of magic history and a few years ago I started to investigate the life and work of a remarkable Scottish conjurer called Harry Marvello.

Harry enjoyed an amazing career during the early nineteen hundreds. He staged pioneering seaside shows in Edinburgh’s Portobello and even built a theatre on the promenade (the building survives and now houses a great amusement arcade). Harry then toured Britain with an act called The Silver Hat, which involved him producing a seemingly endless stream of objects from an empty top hat.

The act relied on a novel principle that has since been used by lots of famous magicians. I recently arranged for one of Harry’s old Silver Hat posters to be restored and it looks stunning.

The Porty Light Box is a wonderful art space based in Portobello. Housed in a classic British telephone box, it hosts exhibitions and even lights up at night to illuminate the images. Last week I gave a talk on Harry at Portobello Library and The Porty Light Box staged a special exhibition based around the Silver Hat poster.

Here are some images of the poster the Porty Light Box. Enjoy! The project was a fun way of getting magic history out there and hopefully it will encourage others to create similar events in their own local communities.

My thanks to Peter Lane for the lovely Marvello image and poster, Stephen Wheatley from Porty Light Box for designing and creating the installation, Portobello Library for inviting me to speak and Mark Noble for being a great custodian of Marvello’s old theatre and hotel (he has done wonderful work restoring an historic part of The Tower).

I have recently carried out some detective work into one of my favourite paranormal studies.

It all began with an article that I co-wrote for The Psychologist about how research into the paranormal is sometimes ahead of psychology. In the article, we describe a groundbreaking study into eyewitness testimony that was conducted in the late 1880s by a paranormal researcher and magician named S. J. Davey (1887).

This work involved inviting people to fake séances and then asking them to describe their experience. Davey showed that these accounts were often riddled with errors and so couldn’t be trusted. Modern-day researchers still cite this pioneering work (e.g., Tompkins, 2019) and it was the springboard for my own studies in the area (Wiseman et al., 1999, 2003).

Three years after conducting his study, Davey died from typhoid fever aged just 27. Despite the pioneering and influential nature of Davey’s work, surprisingly little is known about his tragically short life or appearance. I thought that that was a shame and so decided to find out more about Davey.

I started by searching several academic and magic databases but discovered nothing. However, Censuses from 1871 and 1881 proved more informative. His full name was Samuel John Davey, he was born in Bayswater in 1864, and his father was called Samuel Davey. His father published two books, one of which is a huge reference text for autograph collectors that runs to over 400 pages.

I managed to get hold of a copy and discovered that it contained an In Memoriam account of Samuel John Davey’s personality, interests, and life. Perhaps most important of all, it also had a wonderful woodcut of the man himself along with his signature.

I also discovered that Davey was buried in St John the Evangelist in Shirley. I contacted the church, and they kindly send me a photograph of his grave.

Researchers always stand on the shoulders of previous generations and I think it’s important that we celebrate those who conducted this work. Over one hundred years ago, Davey carried out a pioneering study that still inspires modern-day psychologists. Unfortunately, he had become lost to time. Now, we know more information about him and can finally put a face to the name.

I have written up the entire episode, with lots more information, in the latest volume of the Journal of the Society for Psychical Research. If anyone has more details about Davey then please feel free to contact me!

My thanks to Caroline Watt, David Britland, Wendy Wall and Anne Goulden for their assistance.

References

Davey, S. J. (1887). The possibilities of malobservation, &c., from a practical point of view. JSPR, 36(3), 8-44.

Tompkins, M. L. (2019). The spectacle of illusion: Magic, the paranormal & the complicity of the mind. Thames & Hudson.

Wiseman, R., Jeffreys, C., Smith, M. & Nyman, A. (1999). The psychology of the seance, from experiment to drama. Skeptical Inquirer, 23(2), 30-32.

Wiseman, R., Greening, E., & Smith, M. (2003). Belief in the paranormal and suggestion in the seance room. British Journal of Psychology, 94(3), 285-297.

Delighted to say that tonight at 8pm I will be presenting a 60 min BBC Radio 4 programme on mind magic, focusing on the amazing David Berglas. After being broadcast, it will be available on BBC Sounds.

Here is the full description:

Join psychologist and magician Professor Richard Wiseman on a journey into the strange world of mentalism or mind magic, and meet a group of entertainers who produce the seemingly impossible on demand. Discover “The Amazing” Joseph Dunninger, Britain’s Maurice Fogel (“the World’s Greatest Mind Reader”), husband and wife telepathic duo The Piddingtons, and the self-styled “Psycho-Magician”, Chan Canasta.

These entertainers all set the scene for one man who redefined the genre – the extraordinary David Berglas. This International Man of Mystery astonished the world with incredible stunts – hurtling blindfold down the famous Cresta toboggan run in Switzerland, levitating a table on the streets of Nairobi, and making a piano vanish before hundreds of live concert goers. Berglas was a pioneer of mass media magic, constantly appeared on the BBC radio and TV, captivated audiences the world over and inspired many modern-day marvels, including Derren Brown.

For six decades, Berglas entertained audiences worldwide on stage and television, mentoring hundreds of young acts and helping to establish mentalism or mind magic as one of the most popular forms of magical entertainment, helping to inspire the likes of Derren Brown, Dynamo and David Blaine. The originator of dozens of illusions still performed by celebrated performers worldwide, Berglas is renowned for his version of a classic illusion known as Any Card at Any Number or ACAAN, regarded by many as the ‘holy grail’ of magic tricks and something that still defies explanation.

With the help of some recently unearthed archive recordings, Richard Wiseman, a member of the Inner Magic Circle, and a friend of David Berglas, explores the surreal history of mentalism, its enduring popularity and the life and legacy of the man many regard as Master of the Impossible.

Featuring interviews with Andy Nyman, Derren Brown, Stephen Frayne, Laura London, Teller, Chris Woodward, Martin T Hart and Marvin Berglas.

Image credit: Peter Dyer Photographs

I have lots of talks and shows coming up soon. Meanwhile, here are two podcast interviews that I did recently. ….

First, I chatted with psychologist and magician Scott Barry Kaufman about psychology, magic and the mind. The description is:

In this episode we explore the fascinating psychology behind magic, and Prof. Wiseman’s attempts to scientifically study what appears to be psychic phenomenon. We also discuss the secrets of self-transformation. 

The link is here.

The second was on The Human Being with philosopher Peter Adamson. This time we chatted about loads of topics, including  my research journey, parapsychology, magic, the Edinburgh Fringe, World’s funniest joke, the Apollo moon landings,  Quirkology, and much more. 

You can see it on Youtube here.

I hope that you enjoy them!

The Edinburgh Magic Festival takes place soon, and I am staging a few events, including a talk on the magical history of Edinburgh, a magic workshop (joint with slight of hand expert Will Houstoun), and my ‘Invention of Magic’ show. For details, please click here. 

As part of the event, I have teamed up with Festival co-founder Svetlana McMahon and the amazing Young Carers charity to produce a fun optical illusion exhibition. Together, we created some mind-bending illusions, and then photographed the carers staging the images around the city. Each photograph features young carers doing what they do every day – making the seemingly impossible possible. 

If you are in Edinburgh, please pop into the Storytelling Center on the High Street, enjoy the free exhibition and watch our behind-the-scenes video. Here are a few of my favourite images….

I recently received a lovely email from a pal of mine, Ian Franklin. We met when I investigated alleged ghostly phenomena at Hampton Court Palace, and so I thought that it would be a good time to re-visit the work.

As a kid, I was fascinated by ghosts and hauntings. In the 1990s, I obtained a PhD in the psychology of the paranormal from Edinburgh University and then started my own research unit at the University of Hertfordshire. One day, I received a curious letter from Hampton Court Palace.

This historic Palace has been home to many British monarchs and is now a popular tourist attraction. It also has a reputation for being haunted, with many people experiencing unusual phenomena in an area now known as ‘The Haunted Gallery’. The letter invited me to carry out an investigation (the first at a Royal Palace).

I put together a team of researchers (Caroline Watt, Paul Stevens, Emma Greening and Ciarán O’Keeffe) for a five-day investigation. It proved to be lots of fun. For instance, before we started, the Palace staged a press conference to announce my study. During a break, I stepped outside to get some fresh air and some teenagers drove past. Weirdly, one of them threw an egg at me and it smashed on my shirt, leaving a large stain.  I returned to the press conference, said that the stain was actually ghostly ectoplasm and that this is going to be a tough investigation. 

At the time, Ian Franklin was working as a palace warder. He was kind enough to go through the historic records and figure out where people had reported unusual phenomena in the Haunted Gallery.   

Each day, I asked visitors to walk through the Gallery and write down any unusual experienced (e.g., suddenly feeling cold or sensing a presence). They were also given a floorplan of the area and asked to indicate the location of their experience. About 600 people participated. Interestingly, the experiences from those who believed in ghosts tended to take place in areas that Ian had identified from historic reports. Before the study, we had asked everyone to rate their previous knowledge about strange happenings in the Haunted Gallery, and we could see that that wasn’t a factor.

So, what was going on? We discovered that some of the experiences were caused by natural phenomena (e.g., subtle draughts), and speculated that others might be due to areas looking dark and scary. But who knows, maybe there actually are ghosts at the Palace! Importantly, the work showed that it was possible to carry out a rational and open-minded investigation into an alleged haunting, and it paved the way for my later ghost work (more about that in another blog post). Alas, little did I know that there would soon be lots of people (including those on TV) carrying out somewhat less scientific investigations into alleged ghostly phenomena!

Anyway, it was wonderful working with Ian, and the journal article about the study is here, and it also described in Paranormality. 

This week we will take a detailed look at an optical illusion that I created to shrink people.

There are a few ways of making someone look small. One approach involves making everything else big! Here is a great example of that from a Trick Eye exhibition in Japan. The picture is huge and the glass is painted on the back walls (I pressed my hands against the ground beforehand, so that they looked like they were being pushed against the glass).

Another approach involves forced perspective (making a far-away object appear much closer to the camera) – a technique used in the famous Beuchet Chair illusion….

It’s wonderful but is still a big build. I wanted to create something that was far more portable, and had the idea of moving the chair very close to the camera. Here is how this new illusion looks and works.

All of the details and templates were published in the journal iPerception and I was especially happy with the article because that’s my mum in the photos! I have used the idea lots over the years, ….

….including in this quirky video……

Next week I will reveal a brand new optical illusion! Oh, and if you are in Edinburgh, I will be giving a talk on the 28th December at MagicFest about the strange intertwined lives of three master magicians from the city. One was the most famous illusionist in the world, another perfected a trick that revolutionised magic, and the third was frequently asked to appear in the Edinburgh Sheriff Court. Do come along, fun will be had. Details here.