The EQUIVOCAL

WARNING AUTHOR (Phil Goldstein)

I started to worry about the mechanisms of
technique EQUIVOCAL, around my 10 years. There is
had so little information available on this subject, that I was
forced to develop my own principles based on research
conducted empirically. As is often the case, the
forced me to lack knowledge of the subject probably
higher than it would have been with study manuals
if they were available ...
Given the above, why he wrote such a manual
myself? The answer is that I hope that my work in this
field help others in their own research, while
knowing full well that the reading of this manuscript replace
never personal experimentation of the reader. Studying well
learn is a difficult thing, but transcribing processes
is not easy either ... Taken alone, this test is meaningless,
but combined with your own ideas and your own experience,
this treaty can become a valuable extra in your own
approach to the use of EQUIVOCAL.
Boston Mass. 1976.
Knowing how this technique is useful, it is surprising
see how much he was little written about ... More often
the Equivoque, is mentioned in a few brief phases, and again
when she is written ... The only approach to the "choice
the magician "made with intelligence and detail, is that of Gene
Grant, in his excellent booklet from 1956 "Phantini's mind
key ". Grant calls his approach the Phantinisme and all
is very good. My own work in this area will slightly
further, in detail, and I propose, analyze of
explicitly. Before trading, I want to reiterate that my
Equivoque approach to the technique is not the only
possible nor necessarily the best, because like everything related
presentation things that work beautifully with
this one, are not necessarily "the solution" for that one ... I
suggests you to study my own and my own analysis
Technical and apply them later to your own
temperament. So when you develop your own
approach, you will have a tool ready to serve you in a number
countless situations, even EQUIVOCAL BY ESSENCE,
is a psychological forcing process resulting in two
possible interpretations.
The viewer must choose an object among a small group of objects.
His choice is guided by various psychological factors.
When necessary we use a method known as
"Limitation" in choice, in which the actions of
spectators are truly HANDLED by instructions
that seem accurate, but is actually open to multiple
interpretations. When a person is faced with
horizontal row of objects, and ask him to take
one, his choice is not completely abandoned to chance.
Say for example the number of objects with which we
will work is 5. In a row of A, B, C, D, E, subject
located in C will almost never selected because
S
a place
Central makes it too obvious choice for the subconscious
spectator. For the same reason, the viewer will not have
propensity to choose A or E objects because they are in
end of the row, these choices being too obvious ... the viewer
rather let go to choose B or D. In addition if the objects
spectator is handed there is a small additional chance
it takes the object D, while a left-hander has a propensity

Page 2
a natural seize B. (translator's note: Note that you
asks not to "choose" but "take"). The subconscious
spectator leads to mistrust objects whose position is too
"Obvious center, end, and it is this distrust that will
cause it to fall into your nets ... "
I will not start discrediting the use of materials
sophisticated as some worth, of course, the trouble they are used,
Nevertheless, I maintain that it is absolutely necessary for the
professional mentalist to stay away from dependence
objects which we hope they will walk, to accomplish his
number. The late Theo Anneman said, about art
mentalism, it is a struggle between your mind and that of
viewer, telling him to do as he wants, while bringing
to do what YOU want it to do.
No, another technique is probably as pure in
field of mentalism than the EQUIVOCAL or '' choice
the magician ".
The EQUIVOCAL is one of the most useful tools of mentalism,
when one knows how to use properly. Poorly made, the ambiguity
appears as disarmingly naïve to your audience, but
made is pure telepathy. . and without
Accessories ... Every menlaliste, was approached off stage
someone asked him: "Read my thoughts on the fields."
The ambiguity is the perfect response to this notice.
With just a handful of coins, or
few objects that remain on the table after a dinner,
mentalist, can, by applying the techniques of
conditioning verbal "give the impression of reading
thought to the most critical observer ... "
We will take maximum advantage of this
psychological preparation, while protecting us, opening the
door of a limitation process for the case where the initial choice of
spectator would prove bad ..
In other words, if the need is felt to be at
viewer no choice, it will give the impression that
such was our intention from the very beginning. It will take us
also disguise the fact that these new instructions
Data AFTER his first choice.
To help us with this, we will use a technique
can be called "verbal conditioning." ' It is a way of
giving instructions that lend themselves to different interpretations ...
and further, allows a maximum of "flexibility" in the case where one
would have to begin the process of elimination. In addition it will
convince your viewer that all your instructions
precise and deliberate, when in fact nothing is wrong. Finally,
it encourages the viewer to be less on his guard, and thereby
even increases your control over IUI, and its actions.
Before explaining this conditioning verbal, let me do
digress: there are certain situations in which
the objects to choose will be extremely different. In this kind
situations, some objects can come out of the lot, because of
their shape, size or color. Such objects
should NEVER be taken as objects to force, because too
evident.
For the purpose of our study, we will assume that
objects to choose from are coins. For example: 5 ct
50 ct, 1F, 2F, 5 F. The coin of 5 F is too obvious because it is
 Page 3
the largest and one that is worth the most, on the other hand .the room
5 ct is one that is worth less and is more color
different. The viewer know, but his choice of this is already
is reduced to three pieces: 50 ct, 1F, 2F or. His first choice will
between these three parts and as part 2F, has a drawing
hexagonal, making it too "different, we can say that between 50ct
and 1E, 1F is still the piece that is most likely to be
chosen because having more value and being the most common.
So we will do everything possible to force the piece
1F. We will put it in position D. why we
going to the D will be explained shortly. Now, of
to move the selection of the viewer to the right of the
row, during his first choice, we will place the 5 and 5 ct
F in A and B in this way when the 'viewer approaches the
Row, subconsciously carry forth outside of the far left
it goes without saying that the parts are placed on the table in
this position quite by chance, carelessly. Any doubt or
repentance, the position of the parts give the alarm. It is necessary that
the viewer has the impression you get out a 'handle
parts of the pocket, and you put them no matter how
on the table
The prediction is then made. You can either write the word 1
F on a piece of paper or keep in the left hand
a second piece of 1 F. Now you can
start the test, but before giving your first
instructions, you begin your verbal conditioning.
Here's an overview of what I say in this case:
"You have before you a row of rooms. In a moment
4 of these items WILL BE ELIMINATED, because I only need
One-room to go with my prediction. It is certain that there
many psychological factors that attract you
to a room rather than another.
The 5 ct are the only ones to be gold, the coins of 5 F is your most
big, room F 1 is the only one of the front side, the room
2 F has an unusual hexagonal pattern, the piece was 50 ct
placed in the middle. The drawings on each part are different, and
can more or less please. Light can hang
one of the pieces more than others and make it more brilliant
where you sit. All in all these other parts are
related to psychological factors dozens, but you will
agree that they are so numerous that they are more or less cancel
all each other, and some may talk to you and
others do not ... we are okay? ... "
Now analyze this little deception:
First note that we have never said that a piece
would be chosen, we said instead that would be 4
eliminated. And phraseology introduced underlying the way
removal process, in case you would have to use it.
Also note the use of the phrase, "because I only need a
piece ''. Again phraseology is important to the case
we would have to begin the process of elimination. You are
Train your canvas tender for a possible need for interpretation
multiple.

Page 4
Observe that all the conditioning, the words
select, choose, take are never used They are
All implied by the word "draw" We only serves
complementary concept "FOR DISPOSAL". Again we
build an atmosphere conducive to multiple interpretations.
This introductory monologue has other designs: it establishes the idea
you control the situation and note that you still have
not clear precisely what to the viewer
do. The viewer knows that choice is about to be done,
but it still awaits your orders. Psychologically, the
viewer feels just a little disturbed and is willing to accept
your authority to get out of this confusion, in other words ... it
is timely. It is wall ...
Note 'as this little monologue tends to establish the fact
(Notoriously wrong) that you have no advantage
psychologically in the situation. This is an argument
convincing that tends to lull his distrust and simultaneously
adds to his confusion. If the subject started the test with the idea of
want to be smarter than the mentalist, this idea must
currently being driven from her mind.
You have during this little speech he talked about was necessary
to convey information in order to complete confuse the
spectator. You're building something that
be called the buzzing effect, in other words ment
talking too much, you force the viewer to an effort to
separating the bottom of the speech shape. Again, 'you
manufacture the frame of a future multiple interpretation. Hence the
term verbal conditioning. The viewer is no longer
on guard, and you will grow a little later in this
leadership, saying "relax". The moment you say or
these words, the subject will naturally in the opposite direction, and
will do anything to remain in control and aware of himself, knowing
that something important is about to happen, and
he will be the actor ...
Note also the use of the phrase "because I only need
of a room. " Again phraseology is important for the
case we would have to begin the process of elimination. You
're straining your canvas for a possible need
multiple interpretation.
Observe that all the conditioning the words:
select, choose, take, are never used, they
is implied by the word "draw". It uses only the
complementary concept
D
'
ELIMINATION
. Again, we
build an atmosphere conducive to multiple interpretations.
This introductory monologue has other designs: it establishes the idea
you control the situation, and note that you still have
not clear precisely what to the viewer
do. The viewer knows that choice is about to be done,
but it still awaits your orders. Psychologically, the
viewer feels just a little disturbed, and is ready to accept
your authority to get out of this confusion. In other words ... he
the point is ... it's wall ...
Note also that this little monologue tends to establish the fact
(Notoriously wrong) that you have no advantage
in the psychological situation. This is a convincing argument
which tends to lull his distrust and at the same time adds to the
confusion. If the subject started the test with the idea of wanting to be
outsmart the mentalist, this idea must now be
driven out of his mind.
You have during this little speech spoke more than was
necessary to convey information, to complete
to confuse the viewer. You are building something
something we might call the "buzz" effect,
 Page 5
ie talking too much, you force the
viewer an effort to separate the bottom of his speech
shape. Again, you build the framework for future
multiple interpretation. Hence the term "conditioning
verbal ".
The viewer is no longer on guard and you
push a little further in that direction, saying:
"Relax". The moment you say those words, the subject will
naturally in the opposite direction and will do anything to stay
master and aware of himself, knowing that something
important is about to happen, and it will be
actor ... Say: "Relax, breathe deeply,
now I want you to extend your left hand, and
were receiving with one of the objects ... "
Why the left hand? You make this clarification for three
reasons. First, we know that the fact of using the hand
left, provides, in the right-handed spectator movement
RIGHT, thus forcing to the area.
Secondly, the viewer is in most cases handed.
Forcing a right-handed to work with the left hand,
adds to his confusion. The fact that he is not accustomed to use
his left hand added to the various psychological factors
we saw above, leads the viewer directly
to 1 coin F. Finally, your last words seem
indicate that you follow a plan drawn up since the beginning of
experience, but these indications even when you leave
an alternative possibility: in the case where the viewer takes the object
to force, the instructions suggest that the experience
stops there, and you have NEVER had the idea to go further ...
But IF, however the subject is not taking the subject to force, your
last instructions serve as an introduction to start the
sentence of elimination, as if it had been planned from the very
beginning. Suppose that the viewer has not touched the object
force but took instead the piece of 50 ct. You tell him about
an authoritative tone: "Take it, take it the" all with
shadow of impatience, as if you had told him to TAKE the
piece in your opening statements, which was not the case
since on the contrary, you asked him a TOUCH
piece, but adding later this additional information,
you add to the confusion and made him believe that your intention
Preliminary TAKES he was the part; and you chain
immediately "and now also take the work by hand
right "because as I said before, we must make a
elimination.
Remember that you have already introduced the term disposal
your very first instructions, so the use of this word,
here seems particularly logical. Using of
alternative "Right and left", you create a situation
psychological which tends to prove that you had planned from the
beginning an object had to be taken in each hand. In you
still serving here the word elimination, you open a door
a possible increase in the removal process, in
cases where it seems necessary.
At this point, two situations are possible: either the viewer
took the object to force with the right hand, or he always has
not taken ...
Suppose we were in the first case: you
so give again the idea of a specific instruction and tell
the viewer "carefully weigh these two objects we ...
need only one of them, so give me a ... "
Note the ambiguity of the last sentence to the verb "weighed" was
amending added "carefully" again, you give
about a spirit both confused and aware.
Remember that in your monologue conditioning,

Page 6
you told Al I only need a room. (To go
with my prediction ...) This time, the sentence has been slightly
modified drawing and I had been transformed to US (have
only need a part ...)
So that the next action of the viewer is already prone
has two interpretations. Adding to this, the following term
DISPOSAL you just reintroduce the right time.
The viewer will pause and you tend to force the object you
smile and you say, "remember, I told you
I only needed a room ... It is this that you
have decided to give me the coin of 1 F. Would you like
watch my prediction.
You are in this case I returned to the start ignoring the project
pronoun
WE
you had introduced few moments
screen. As soon as this statement is made, you raise your
hand with room to 1 F, and your attention is directed to
it. You set your eyes on it, pointing to the right. The attention
the viewer is directed to it, you will forget the other
piece he holds ... and also ...
If the viewer does not tend to force you the object, but the other,
you put it immediately and the index point on the piece
the viewer has kept saying, "0 K! You did your
Elimination is this piece you have chosen to keep.
Hold it high. "
Again, changing the focus of your attention you
change the focus of the attention of others within you because ...
elimination, pouring word, you establish continuity
in action, implying a series of actions planned and
from the beginning.
Now return to the point where the spectator took a piece
in each hand, and where neither one nor the other is Exhibit
force ... then we will again use the solution
the FORWARD: "I told you to do your own disposal,
ask these side pieces !!! "The tone of slight annoyance of your
voice lets the viewer assume you have planned this
sequence of actions from the very beginning ...
At this time there are three rooms on the table, and is one of three
the room to force. You will again ask the viewer
to a very specific action. The play was to force
position D and it is therefore now at the far right of
the row of three, or in the middle, because that is what could be the choice of
spectator, only these two solutions are possible ...
The room is in the middle or right, it is again our
advantage of requiring the viewer to make a choice with
left hand.
But this time we will change the instructions to the
distinguished from those we had given previously.
"Beware, for now, that's very important, I want you
étendiez your left index finger and the pieces were pushing forward
".
Note that in telling the viewer that the action is important, you
hold its state of confusion ...
D
onc, one piece is pushed forward ...
If this is the room to force you take it and hold it high in
you exclaiming "it's THIS PIECE," you have separated
others serving you again in the technique
directed attention.
If this is an indifferent piece that was pushed forward, you
the sweep immediately shouting "Good! It only remains that
two pieces ... and your next
S DECISION
the most important era
all: take two pieces, it remains only two
parts and only two ... ONE OF THEM IS FOR
I. ALSO ONE Reach Me ... ".
All this said with some impatience ... again, you
have created a situation dual interpretation ... One of them
for me, is a totally ambiguous phrase, to its
final interpretation.

Page 7
If you are given the right part, you develop the idea that
piece that we just gave you is one that will serve YOU
for YOUR prediction. Otherwise, you suggest to the
spectator he finished HIS disposal and that the part that remains on
the table is the one you predicted at the beginning of
experience ...
This is the basic technique of what we could call
I'ÉQUIVOQUE.
Naturally, this description was made with great detail
who take great importance in writing, but in the
During the routine are just barely small subtleties
noticeable ... You will have noticed that each crossroads of
routine, we are constantly prepared for
next step in case we would be forced to use it
so that a logical extension to the viewer. Good
executed, this technique seems a premeditated result for "
stop there "at any time that the decree ... nothing less ...
I often use the ambiguous' with pieces such as trick
improvised. It sometimes happens that I miss one of 5
parts, then I Collapse ballast A 4 parts, which makes it easier.
The piece is to force the less showy, we will place the C.
Having completed the description of this routine, I think it is
good I suggest you some routines scene or close-
up you can do with it. Naturally, as and
As you will use the ambiguity you will find
applications ... because you can use it well
"Conditioning verbal" with anything. One can even
use of simple pieces of paper on which you register for
numbers, colors, drawings and you roll into small
dumplings, you made a row on the table.
For example, one can take a watch and put it on a
specific time: 9/10 and place the watch in the pocket of a
spectator. Then written on various sheets of paper
different times: 8/17, 10/54, 14/23, 9/12, 4/55. Thanks to
process of equivocation, is forced 9/12 of paper. The
two minutes have been added, make up time
necessary to make the routine and when you open the paper
selected, time found it the watch brand ...
ON THE SCENE ...
You show 5 identical boxes, 4 which are eliminated,
contain a piece of coal, which has been selected by the
viewer contains a gift, he takes with him (box
sweets etc ...).
You show a row of six miniature bottles and one that
is selected by the viewer is the same as that
hanging prominently since the beginning of the experiment. Next
spectators will change you soda in alcohol or cigars or
cigarettes, etc ...
The principle can even be reversed ... what would you think of a
routine in which all envelopes neglected
contain a banknote, and the one chosen by the viewer
a white paper?.
Why not show a non-rigged version of the key of which 5
a padlock only opens?
In fact, there are no limits to the possibilities offered by this
principle, ESP symbol cards to play, colored balls, coins
chess, pencils, stamps, everything is good because the ambiguity, wrong
presented is a disaster, but correctly: run, it
is infallible:
Phil Goldstein

Page 8
NOTES TRANSLATOR
Phew! there it is, all the little work is finished translating and I will
confess, it's done with such intelligence that I took
by translating my foot.
Like all of us, I knew how to force the
third object in a group of 4 starting from
by your right or left, but this kind of disposal
which nothing is left to chance seduced me ... every word,
each pronoun, each point account and in addition, it can be seen
shows the use of certain principles which, if they are not
used for the first time, are codified and Analysis
FOR THE FIRST TIME:
1 / The principle of Equivoque da so many question
possible answers, and that takes a supplement
information ...
2l The principle of the hum that is to the SURinformer
spectator to disrupt critical thinking by forcing him to
FOND seek the FORM of your speech, in which
it is flooded ... stress is produced at the expense of the spirit
critical ...
3 / The principle of Impatience: of bringing the
in further training was lacking in ambiguity and that,
CO
mmesi the thing had been heard from the beginning, and as
if it is the spectator who had not paid enough attention. Come On
! Take it! Implied "you panic and do not we
wasting our time ... "This element in itself disrupts
lot the viewer agacerie this kind of sham, which
implies that we are not yet come to the end and we
still a long way to go.
4/
L
Principle of growing interest. This principle exists in Ia
design equivocation according P.GOLDSTEIN, is
curiously not raised by him in his analysis and yet it
exists and is essential to the logical continuation of the routine
since it is used to establish a progression similar to that of a
number that would crescendo ...
a) Tap an object,
b) TAKE an object with the other hand,
c) CAUTION, now it is IMPORTANT, I want you
Were sliding FORWARD ... d) Your next will be THE DECISION
MOST IMPORTANT OF ALL ...
Routine fear being arrested anywhere, but each new
FORTE step is more than the previous, keeping interest
perpetually revived.
5 / The principle of directed attention in which the mentalist,
suddenly losing interest he had for what
past his attention on the new choice, using the see
and why theories pointing to focus attention
the new choice.
The low part of this game of equivocation is in the case
two objects have been removed, it remains on the table 3 and that
which is pushed forward which is subject to force, because two objects
have been eliminated and the third choice is right. It is then necessary
much "focus" ... a solution that is worth what it is worth,
is to place the prediction in a small shot glass or
ashtray or hollow object that can have ready soon ...
that one arrives to the alternative of the three objects that remain on the
table, remonstrated the saying "you remember I wrote
something and it rests glass or ashtray just before
subject to force. Then asked to "push" one of the objects
forward with the left index finger ...
If this is not the object to which force is chosen, the routine continues
normally. But if it is subject to force that is pushed forward
continues the sentence that had not completed and put ...
in the glass with the prediction ... "other objects are
also removed with a small pitch and it gives the glass
witness the chosen object and prediction match ... Starting
from there, to occupy the many rainy days this winter,
why not try to build as elaborate systems
that there with 6, 7, 8 objects ... but beware the more
objects increases, the alternatives become
complex ... unless from the start, the 10 items placed
can separate into two clans: the red and blacks,
round objects and long objects, even or odd numbers,
etc