The fingers that peek are different and they way the peek is open is different then is it my method then to sell and produce or is it his.
Two things. Pretty sure Sean Fields already did this, and why are you attempting to do market research to sell this when you haven't even been using it that long? Oh, let's not beat around the bush here, there is no way you've been utilizing this in the crucible of live performance long enough for it to be considered commercially viable.
There already are moves for pretty much any situation and most of what I see coming up is fluff designed to solve problems that don't actually exist in a practical world.
Ding, ding! We have a winner!
The more I learn about marketing and business (the hard way), the more I learn (again, the hard way) that artists are generally pretty terrible at it. Let me share with you a little anecdote. Back in June, my sister and I went down to an open market for students from the Pittsburgh Center for the Arts. The amount of talent on display was incredible. All these great paintings, fine art photography that I wish I had the money to buy, fantastic pottery... I saw a ceramic fish with actual detail and texture on the scales. I asked over a dozen people to be added to their mailing list. No one had one. I asked them for business cards. I got three. Guess what? I don't remember any of their names anymore. Even if I could afford to buy their stuff now, I couldn't get hold of them in order to buy it.
That's what you guys are right now! You're trying to sell crap, but you're not approaching it like the business that it is.
Magic is PERFORMANCE art. Why is it that everyone in this world seems to be so focused on selling their so-called art? I see it everywhere, but I do think Theory11 is one of the biggest communities that have this issue. This is probably mostly due to The Wire.
Yeah, pretty much. People treat the Wire as if it's there specifically for their vanity projects. I was skeptical about the Wire when it first debuted and it seems some of my misgivings are coming to pass.
Sadly, this DISCIPLINE has been lost because of the Internet and how it murdered the Brick & Mortar magic shops of old (and the crusty old salts that ran them, passing on their wisdom).
I have a slightly broader perspective in that I believe the internet only exacerbated an existing problem: that art and business are falsely viewed as mutually exclusive. Like I said, artists in general are terrible entrepreneurs. They see business as easy, something that any schmuck can do. I do partly blame this perception on the proliferation of the MBA degree, but that's another story and this really isn't the time or the place to get into it.
Point is, we have a new generation of magicians who have absolutely no knowledge of business aside from the fact that they hate their bosses and whatever crap jobs they worked through high school/college. Now along comes the internet and the era of the self-published magician who can sell any half-assed product for $30 and (allegedly) turn a profit. It's the siren song of the easy way out. What did it get us? Remember the Bubblegum Magic DVDs? Shot in a mall with the cheapest equipment available and teaching you sleights exactly as you would have learned them from Tarbell et al, only with gum instead of the usual props. They charged you $60 for stuff you could have figured out on your own in 10 minutes. Remember iFloat? If you do, it's probably only for the trailer where the chump who made it flashed the method
right there in the damn demo! And of course a few years back we had all these young, magical wunderkinds who were going to take up the mantle of the greats and trail blaze magic for a new generation. Most of them are in the "Whatever happened to them?" category.
And people wonder why magic gets pirated all the time.