Tufte writes about attention and misdirection.
To create illusions is to engage in disinformation design….
In conjuring, strategies of disguise and attention control work to regulate the optical information available to the spectator. As we have seen for the backpalm and the copper-silver coin exchange, a common technique is to disguise smaller motions by means of larger motions; the ﬁngers craftily manipulate while the hand grandly waves. The attention-attracting but resolution-reducing character of motion is described by Henning Nelms:
“Although movement attracts attention, it also diminishes visibility. When a thread is used to support a light object, it can be seen from a surprising distance even when its color matches the background. However, the slightest movement makes it disappear. A large movement can be used to conceal a small one. For example, the weak spot in The Strong Man’s Secret [a trick based on a cut-and-restored storing] is the action of cutting the loop. The technique . . . can be made more deceptive if you keep the knife still and force the string against it by a sudden movement of the left hand. . . . The large movement of the left hand and the string draws every eye away from the kmf’e so that no one can observe the unnatural way in which the string is cut.”
And in detective stories, the small clue that solves the mystery may be similarly disguised: “It is Agatha Christie, too, who regularly contrives that just as the clue is dropped a distracting m‘cident occurs. Here we are close to the art of the stage conjurer.” As well as close to the arts of propaganda, strategic Intelligence, and politics — although for magic, at least, the targets of the deception are aware and pleased that they are being deceived. Tufte, Visual Explanations, 64.