This is a great idea, which I haven't heard of before! I shall definitely start putting it to use when practicing, not just my coin magic, but in all other types as well (I can imagine this would work very well when practicing a cups and balls routine )!

Thank you very much for sharing!

-Lliam

WHY??? You Have not been talk to the right People !!!

Thank you, Lliam. And with David Neighbors you have one of the right people.

RE: Practicing slowly.
Over a period of time, if you are performing the same routine a lot and regularly, sleights and other movements can become less precise in that routine. The separate impulses from the central nervous system become fused together. The movements become less precise than when first performing. You would think that the more you perform, the more secure your actions would become. That is true to a certain point. But you can reach a point where things do not go as smoothly as before. With repeated performances, little inaccuracies can creep into your movements. Of course, you want your actions to flow naturally, but without inaccuracies.

Atom3339 makes a very good suggestion. Slow practice is part of the solution. Let me add this: Exaggerate your movements while practicing in slow motion. The slow and exaggerated movement reestablishes the separate impulses from the brain. When you perform the movements, move naturally, as you always do. Almost like magic, you will find the that "crisp" feeling of precise movement has returned. This technique is one of the "inner secrets" of advanced piano playing. The technique can be applied effectively to sleight of hand.

I hope this suggestion finds its way into your practice methods. You will be surprised at how effective it really is.

Best regards,
Gerald

Not sure that's an accurate report from Our Magic. Here's their definition of false art: "There is also a third kind - that which imitates neither things imagined by the imitator, nor things that exist; but merely imitates the imitations of others." from The Three Degrees of Art (chapter 2 in the book).

A much older reference advises one to "hold a mirror up to nature". A current book on magical how-to describes that aspect of deception as "painting a picture of reality".

But how to get that accurate report of the reality we wish to imitate? We can mindfully practice sleights, rehearse lines and make habits of our performing character's mannerisms. There's still a matter of how to check what looks correct to an audience or what deceives.

What do you suggest?

Aye, Jonathan, that is the rub. The maxim of "know your audience" is increasingly difficult in recent decades. It is easy to research and find a favorite cause or reason,
but when it comes to guessing what any audience considers to be impossible is different than in my youth, or even during the Café' forum.

A classroom teacher faces a similar problem in creating a lesson plan when the students speak eleven languages - none of them English; plus there is no reliable scaffolding of knowledge.

How does one practice for the unknown perceptions of a random audience? The pro with reputation can count on a paying audience to have certain expectations.
Performing in a bar might assume no expectations other than to be entertained, and practice my be minimal if the audience will forget what you did anyway.

I like Bill Palmer's recent suggestion (paraphrased) that one practices for automaticity, then until the effect seems boring. Only then can one focus on beauty.

There is also a difference between home practice, rehearsal and review after a dozen performances and refinement.

I recall anither phases, "Practice does no make perfect. Perfect practice makes perfect."