The Null Device
Posts matching tags 'misdirection'
An article about Apollo Robbins, virtuoso pickpocket. The self-taught Robbins does not practice his impressive skills for theft, but rather as a theatrical pickpocket, and has been recently working with cognitive science researchers investigating how human attention works, and how a masterful pickpocket or similar manipulator can exploit its properties:
He is probably best known for an encounter with Jimmy Carter’s Secret Service detail in 2001. While Carter was at dinner, Robbins struck up a conversation with several of his Secret Service men. Within a few minutes, he had emptied the agents’ pockets of pretty much everything but their guns. Robbins brandished a copy of Carter’s itinerary, and when an agent snatched it back he said, “You don’t have the authorization to see that!” When the agent felt for his badge, Robbins produced it and handed it back. Then he turned to the head of the detail and handed him his watch, his badge, and the keys to the Carter motorcade.
Robbins needs to get close to his victims without setting off alarm bells. “If I come at you head-on, like this,” he said, stepping forward, “I’m going to run into that bubble of your personal space very quickly, and that’s going to make you uncomfortable.” He took a step back. “So, what I do is I give you a point of focus, say a coin. Then I break eye contact by looking down, and I pivot around the point of focus, stepping forward in an arc, or a semicircle, till I’m in your space.” He demonstrated, winding up shoulder to shoulder with me, looking up at me sideways, his head cocked, all innocence. “See how I was able to close the gap?” he said. “I flew in under your radar and I have access to all your pockets.”
But physical technique, Robbins pointed out, is merely a tool. “It’s all about the choreography of people’s attention,” he said. “Attention is like water. It flows. It’s liquid. You create channels to divert it, and you hope that it flows the right way.”Robbins figured out his craft independently, though has since dealt with criminal and/or ex-criminal pickpockets, including a criminal virtuoso whom he tried, unsuccessfully, to recruit to a think-tank including pickpockets, card cheats and ex-cops; the article does go into the tradecraft and argot of the professional criminal pickpocket and the institutions of this trade (which, notwithstanding whilst it may be in decline in America, is alive and well elsewhere; by the way, did you know that the band School of Seven Bells is named after a pickpockets' academy in Colombia?)
Street pickpockets generally work in teams, known as whiz mobs or wire mobs. The “steer” chooses the victim, who is referred to generically as the “mark,” the “vic,” or the “chump,” but can also be categorized into various subspecies, among them “Mr. Bates” (businessman) and “pappy” (senior citizen). The “stall,” or “stick,” maneuvers the mark into position and holds him there, distracting his attention, perhaps by stumbling in his path, asking him for directions, or spilling something on him. The “shade” blocks the mark’s view of what’s about to happen, either with his body or with an object such as a newspaper. And the “tool” (also known as the “wire,” the “dip,” or the “mechanic”) lifts his wallet and hands it off to the “duke man,” who hustles away, leaving the rest of the mob clean. Robbins explained to me that, in practice, the process is more fluid—team members often play several positions—and that it unfolds less as a linear sequence of events than as what he calls a “synchronized convergence,” like a well-executed offensive play on the gridiron.
(via Boing Boing)
An interview with James Freedman, an illusionist and white-hat pickpocket who was employed as a consultant for the film Oliver Twist:
Freedman gives me his jacket to put on. In the inside pockets are two wallets and two pens. Keeping eye contact, he asks what I have in my jeans pockets. I show him some keys and replace them. During those few seconds, he nicks the wallets and pens. As I'm reacting to this first loss, he manages to extract the keys out of my backpocket. I don't see a thing.
It's embarrassing. I knew what he was going to do and yet he still managed to fleece me. I don't even have the excuse of a natural distraction, which, Freedman says, is what pickpockets look out for. "At Westminster Tube station," he says, "the first thing people do when they come out is look at Big Ben." And, of course, thieves love the posters in the Tube that warn people to safeguard their belongings "because people show you where their things are when they pat them."
Psychologists are now looking at magic tricks for answers to how the mind works. Developed and refined over centuries, such tricks and techniques are now being recognised as containing a lot of folk knowledge about the low-level workings of consciousness and perception:
A card trick that lasts four or five minutes, for example, might have 20 pages of detailed text to describe exactly where to look, what to say, what to do and so on. And a lot of the understanding of a trick has to be from the perspective of the audience.
Our brains filter out a huge amount of the mass of sensory input flooding in from our environment. Kuhn explains that we see what we expect to see and what our brains are interested in. "Our visual representation of the world is much more impoverished than we would assume. People can be looking at something without being aware of it. Perception doesn't just involve looking at an object but attending to it."