The British medium William Roy earned over £50,000 from his séance sitters. He confessed to fraud in 1958 revealing the microphone and trick-apparatus that he had used. The automatic writings of the Irish medium Geraldine Cummins were analyzed by psychical researchers in the 1960s and they revealed that she worked as a cataloguer at the National Library of Ireland and took information from various books that would appear in her automatic writings about ancient history.
The psychic, who'd had her hand on my phone screen the whole time, said she had felt it shaking and that it was probably a sign Emily was around (my friend had sent me two texts around that time). She also said she had been praying and crying with me too (I'm recovering from a cold and sniffled a few times to try to keep mucus from dripping out of my nose). She took the statue, closed her eyes and murmured for 30 seconds, then took the glass cube off the cup and lifted the cup. The dregs formed a vaguely heart-shaped smear on the saucer.
In the typical deep trance, the medium may not have clear recall of all the messages conveyed while in an altered state; such people generally work with an assistant. That person selectively wrote down or otherwise recorded the medium's words. Rarely did the assistant record the responding words of the sitter and other attendants. An example of this kind of relationship can be found in the early 20th century collaboration between the trance medium Mrs. Cecil M. Cook of the William T. Stead Memorial Center in Chicago (a religious body incorporated under the statutes of the State of Illinois) and the journalist Lloyd Kenyon Jones. The latter was a non-medium Spiritualist who transcribed Cook's messages in shorthand. He edited them for publication in book and pamphlet form.
Cold reading also explains why psychics have consistently failed scientific tests of their powers. By isolating them from their clients, psychics are unable to pick up information from the way those clients dress or behave. By presenting all of the volunteers involved in the test with all of the readings, they are prevented from attributing meaning to their own reading, and therefore can't identify it from readings made for others. As a result, the type of highly successful hit rate that psychics enjoy on a daily basis comes crashing down and the truth emerges – their success depends on a fascinating application of psychology and not the existence of paranormal abilities.
A common proximity format is 26-bit Wiegand. This format uses a facility code, sometimes also called a site code. The facility code is a unique number common to all of the cards in a particular set. The idea is that an organization will have their own facility code and a set of numbered cards incrementing from 1. Another organization has a different facility code and their card set also increments from 1. Thus different organizations can have card sets with the same card numbers but since the facility codes differ, the cards only work at one organization. This idea worked early in the technology, but as there is no governing body controlling card numbers, different manufacturers can supply cards with identical facility codes and identical card numbers to different organizations. Thus there may be duplicate cards that allow access to multiple facilities in one area. To counteract this problem some manufacturers have created formats beyond 26-bit Wiegand that they control and issue to organizations.
In 1908 at a hotel in Naples, the psychical researchers W. W. Baggally, Hereward Carrington and Everard Feilding attended a series of séances with Eusapia Palladino. In a report they claimed that genuine supernatural activity had occurred in the séances, this report became known as the Feilding report. In 1910, Feilding returned to Naples, but this time accompanied with the magician William S. Marriott. Unlike the 1908 sittings, Feilding and Marriott detected her cheating, just as she had done in America. Her deceptions were obvious. Palladino evaded control and was caught moving objects with her foot, shaking the curtain with her hands, moving the cabinet table with her elbow and touching the séance sitters. Milbourne Christopher wrote regarding the exposure "when one knows how a feat can be done and what to look for, only the most skillful performer can maintain the illusion in the face of such informed scrutiny."